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Repeated shots and techniques in Hitchcock's films

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One of the lecture videos last week brought up the similar use of upside-down POV shots in Notorious (1946) and Downhill (1927), which I found very interesting.  Watching so many of these films in such a short time makes it easy to spot similarities like this.

What other examples can people come up with of shots or particular techniques that Hitchcock re-used or re-applied or tinkered with in different films?

For me, having just seen Rope (1948) on TCM, I thought the shot of the camera moving around the empty furniture, as if following an invisible character, while Jimmy Stewart explained how David could have been murdered, was reminiscent of the scene in Rebecca (1940) where Laurence Olivier recounts the events of that fateful night in the cabin (the camera "following" Rebecca's movement around the room).


And the climax on the train in Shadow of a Doubt (1943), specifically the rear-projection work when Uncle Charlie...disembarks, is like some shots in The Lady Vanishes (1938), with Paul Lukas looking out from the window and then with Michael Redgrave hanging outside the train as another one passes.  And there may have been similar rear-projection train shots in The 39 Steps (1935), but I can't remember definitively.


In Stage Fright (1950), there's a scene where a fugitive escapes by car, with the pursuing vehicle cut off from the chase by another vehicle (a truck or something) that crosses in front of it from the side.  This bit of business reminded me of the rail yard scene in Young and Innocent (1937), when the cops are blocked (twice) from giving pursuit by conveniently-timed passing trains.


The POV dolly shot near the end of I Confess (1953), with Father Logan (Montgomery Cliff) approaching Otto Keller (O.E. Hasse), is similar to the POV shot of the students approaching the dean early in Downhill (1927) (as seen in one of the Daily Doses).


It may be a stretch, but an early shot in Lifeboat (1944), which shows various items of flotsam to give a sense of the victims of the U-boat attack, is a similar use of purely visual storytelling as the opening scene of Mr. & Mrs. Smith (1941), which shows plates and things strewn about the bedroom floor.


I guess the Statue of Liberty scene in Saboteur (1942) is similar to the Mt. Rushmore scene in North by Northwest (1959) (hanging on for dear life), but with a different outcome.

And, of course, the Royal Albert Hall sequences in both versions of The Man Who Knew Too Much (1934 & 1956) are quite similar, particularly with that shot of the gun barrel peeking out from the curtain.


What else?


I'm sure there are many more.

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A few more have come to mind.


The "drinking the milk" POV shot in Spellbound (1945) (viewed through the glass) reminds me of the POV shots in Champagne (1928), viewed through the bottom of a champagne glass.

And the stylized trial montage in Spellbound, which focuses solely on Ingrid Bergman, is kind of like the expressionistic trial montage in Dial M for Murder (1954), which uses colored lighting and Grace Kelly's face to condense a long legal proceeding into a couple of minutes.

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