The Watts Lions In The Noir Analysis

Tuesday, September 28, 2021 2:13:22 AM

The Watts Lions In The Noir Analysis

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Smith and could elevate him if they feel the need to do so. On passing downs, they'll likely use Richardson and a defensive end on the interior, so they won't need two DTs out there on every snap. It'll be a group effort to replace Pierce. If Tomlinson can keep playing at the elite level he's shown over the past two weeks and guys like Richardson and Watts step up, the Vikings should be able to survive without one of their best defensive players for at least a few games.

Thanks for reading. Make sure to bookmark this site and check back daily for the latest Vikings news and analysis all season long. Also, follow me on Twitter and feel free to ask me any questions on there. Game Day. SI TIX. Home Minnesota Vikings News. So how will the Vikings adjust their defensive line without big No. Like Lifeboat and Rope , the movie was photographed almost entirely within the confines of a small space: Stewart's tiny studio apartment overlooking the massive courtyard set. Hitchcock uses closeups of Stewart's face to show his character's reactions to all he sees, from the comic voyeurism directed at his neighbors to his helpless terror watching Kelly and Burr in the villain's apartment.

Grant plays retired thief John Robie who becomes the prime suspect for a spate of robberies in the Riviera. An American heiress played by Kelly surmises his true identity, attempts to seduce him with her own jewels, and even offers to assist him in his alleged life of crime. Stewart and Day, distraught over the kidnapping of their son, struggle with both their emotions and their urgent quest to find their child and stop an assassination, until the song helps re-unite the family. Hitchcock's final film for Warner Brothers, was a low-key black and white production based on a real-life case of mistaken identity reported in Life Magazine in This was the only film of Hitchcock's to star Henry Fonda.

Fonda plays a Stork Club musician mistaken for a liquor store thief who is arrested and tried for robbery while his wife newcomer Vera Miles emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes. Stewart plays "Scottie", a former police investigator suffering from acrophobia, who develops an obsession with a woman he is shadowing Kim Novak. Scottie's obsession leads to tragedy, and this time Hitchcock does not opt for a happy ending. Though the film is widely considered a classic today, Vertigo met with negative reviews and poor box office receipts upon its release, and marked the last collaboration between Stewart and Hitchcock.

By this time, Hitchcock had filmed in many areas of the United States. He followed Vertigo with three more successful films. All are also recognized as among his very best films: North by Northwest , Psycho and The Birds He is hotly pursued by enemy agents across America who try to kill him, one of whom is foreign agent Eve Kendall Eva Marie Saint , who is really an American agent. She seduces Thornhill, sets him up, but then falls in love with him and aids his escape.

Psycho is considered by some to be Hitchcock's most famous film. The unprecedented violence of the shower scene, the early demise of the heroine, the innocent lives extinguished by a disturbed murderer were all hallmarks of Hitchcock, copied in many subsequent horror films. After completing Psycho , Hitchcock moved to Universal, where he made the remainder of his films. The Birds , inspired by a Daphne du Maurier short story and by an actual news story about a mysterious infestation of birds in California, was Hitchcock's 49th film. He signed up Tippi Hedren as his latest blonde heroine opposite Rod Taylor. The scenes of the birds attacking included hundreds of shots mixing actual and animated sequences. The cause of the birds' attack is left unanswered, "perhaps highlighting the mystery of forces unknown".

The latter two films were particularly notable for their unconventional soundtracks, both orchestrated by Bernard Herrmann: the screeching strings played in the murder scene in Psycho exceeded the limits of the time, and The Birds dispensed completely with conventional instruments, instead using an electronically-produced soundtrack and an unaccompanied song by school children just prior to the infamous attack at the historic Bodega Bay School. Also notable was that Santa Cruz was mentioned again as the place where the bird-phenomenon was said to have first occurred. These films are considered his last great films, after which it is said his career started to lose pace although some critics such as Robin Wood and Donald Spoto contend that Marnie , from , is first-class Hitchcock, and some have argued that Frenzy is unfairly overlooked.

Failing health took its toll on Hitchcock, reducing his output during the last two decades of his career. Hitchcock filmed two spy thrillers. Torn Curtain displays the bitter end of the twelve-year collaboration between Hitchcock and composer Bernard Herrmann. Herrmann was fired when Hitchcock was unsatisfied with his score, so John Addison was hired in Herrmann's place. Both received mixed reviews from critics. In , Hitchcock returned to London to film Frenzy , his last major triumph.

After two only moderately successful espionage films, the plot marks a return to the murder thriller genre that he made so many films out of earlier in his career. The basic story recycles his early film The Lodger. Richard Blaney Jon Finch , volatile barkeeper with a history of explosive anger, becomes the likely perpetrator of the "Necktie Murders", which are actually committed by his friend Bob Rusk Barry Foster , a fruit seller. This time Hitchcock makes the victim and villain twins, rather than opposites, as in Strangers on a Train.

Only one of them, however, has crossed the line to murder. For the first time, Hitchcock allowed nudity and profane language, which had before been taboo, in one of his films. He also shows rare sympathy for the Chief Inspector and his comic domestic life. Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the longtime head of Hollywood's Production Code.

Many times Hitchcock slipped in subtle hints of improprieties forbidden by censorship until the mids. Yet Patrick McGilligan wrote that Breen and others often realized that Hitchcock was inserting such things and were actually amused as well as alarmed by Hitchcock's "inescapable inferences". Beginning with Torn Curtain , Hitchcock was finally able to blatantly include plot elements previously forbidden in American films and this continued for the remainder of his film career. Family Plot was Hitchcock's last film. It related the escapades of "Madam" Blanche Tyler played by Barbara Harris, a fraudulent spiritualist, and her taxi driver lover Bruce Dern making a living from her phony powers. It was the only Hitchcock film scored by John Williams.

Near the end of his life, Hitchcock had worked on the script for a projected spy thriller, The Short Night , collaborating with screenwriters James Costigan and Ernest Lehman. Despite some preliminary work, the story was never filmed. This was due, primarily, to Hitchcock's own failing health and his concerns over the health of his wife, Alma, who had suffered a stroke. The script was eventually published posthumously, in a book on Hitchcock's last years.

Hitchcock's body was cremated and his ashes were scattered over the Pacific Ocean. Hitchcock returned several times to cinematic devices such as suspense, the audience as voyeur, and his well-known "McGuffin", an apparently minor detail serving as a pivot upon which the narrative turns. Hitchcock seemed to delight in the technical challenges of film making. In the film Lifeboat , Hitchcock stages the entire action of the movie in a small boat, yet manages to keep the cinematography from monotonous repetition his trademark cameo appearance was a dilemma, given the limitations of the setting; so Hitchcock appears in a fictitious magazine for a weight loss product.

Similarly, the entire action in Rear Window either takes place in or is seen from a single apartment. In Spellbound , two unprecedented point-of-view shots were achieved by constructing a large wooden hand which would appear to belong to the character whose point of view the camera took and out-sized props for it to hold: a bucket-sized glass of milk and a large wooden gun. For added novelty and impact, the climactic gunshot was hand-colored red on some copies of the black-and-white print of the film. Rope was another technical challenge: a film that appears to have been shot entirely in a single take.

The film was actually shot in 10 takes ranging from four and a half to 10 minutes each; a 10 minute length of film being the maximum a camera's film magazine could hold. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place. Hitchcock's film Vertigo contains a camera technique developed by Irmin Roberts that has been imitated and re-used many times by filmmakers, wherein the image appears to "stretch".

This is achieved by moving the camera in the opposite direction of the camera's zoom. It has become known as the Dolly zoom or "Vertigo Effect. Hitchcock appeared briefly in many of his own films, usually playing upon his portly figure in an incongruous manner, for example, seen struggling to get a double bass onto a train. Hitchcock's films sometimes feature characters struggling in their relationships with their mothers.

In North by Northwest , Roger Thornhill Cary Grant's character is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds , the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself of a clinging mother Jessica Tandy. The killer in Frenzy has a loathing of women but idolizes his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother played by Marion Lorne. Sebastian Claude Rains in Notorious has a clearly conflictual relationship with his mother, who is correctly suspicious of his new bride Alicia Huberman Ingrid Bergman.

And, of course, Norman Bates' troubles with his mother in Psycho are well known. Hitchcock heroines tend to be lovely, cool blondes who seem proper at first but, when aroused by passion or danger, respond in a more sensual, animal, or even criminal way. As noted, the famous victims in The Lodger are all blondes. In Marnie , the title character played by Tippi Hedren is a kleptomaniac. Hitchcock's last blonde heroine was - years after Dany Robin and her "daughter" Claude Jade in Topaz - Barbara Harris as a phony psychic turned amateur sleuth in his final film, 's Family Plot. In the same film, the diamond smuggler played by Karen Black could also fit that role, as she wears a long blonde wig in various scenes and becomes increasingly uncomfortable about her line of work.

Some critics and Hitchcock scholars, including Donald Spoto and Roger Ebert, agree that Vertigo represents the director's most personal and revealing film, dealing with the obsessions of a man who crafts a woman into the woman he desires. Vertigo explores more frankly and at greater length his interest in the relation between sex and death than any other film in his filmography. Hitchcock often said that his favorite film of his own work was Shadow of a Doubt. Hitchcock once commented, "The writer and I plan out the entire script down to the smallest detail, and when we're finished all that's left to do is to shoot the film. Actually, it's only when one enters the studio that one enters the area of compromise.

Really, the novelist has the best casting since he doesn't have to cope with the actors and all the rest. I have a strongly visual mind. I visualize a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 per cent of your original conception. Hitchcock's films were strongly believed to have been extensively storyboarded to the finest detail by the majority of commentators over the years.

He was reported to have never even bothered looking through the viewfinder, since he didn't need to do so, though in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternate takes to consider. Krohn, after investigating several script revisions, notes to other production personnel written by or to Hitchcock alongside inspection of storyboards, and other production material, has observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned.

He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his movies was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. A great example would be the celebrated crop spraying sequence of North by Northwest which was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film and Hitchcock in turn hired an artist to match the scenes in detail.

Even on the occasions when storyboards were made, the scene which was shot did differ from it significantly. Krohn's extensive analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of The Man Who Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule, something which, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including Strangers on a Train and Topaz.

While Hitchcock did do a great deal of preparation for all his movies, he was fully cognizant that the actual film-making process often deviated from the best laid plans and was flexible to adapt to the changes and needs of production as his films were not free from the normal hassles faced and common routines utilised during many other film productions. Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, a practice which he notes often sent many of his films over budget and over schedule and, more importantly, differed from the standard operating procedure of Hollywood in the Studio System Era.

Equally important is Hitchcock's tendency to shoot alternate takes of scenes. Rather they represented Hitchcock's tendency of giving himself options in the editing room, where he would provide advice to his editors after viewing a rough cut of the work. According to Krohn, this and numerous other information revealed through his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as a director who was always in control of his films, whose vision of his films did not change during production, which Krohn notes has remained the central long-standing myth of Alfred Hitchcock.

His fastidiousness and attention to detail also found its way to each film poster for his films. Get Known if you don't have an account. Documentary Tropes. Alternative Title s : Documentaries. Show Spoilers. How well does it match the trope?

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