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Post by Mike Sullivan on Nov 28, 2005 0:19:28 GMT
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Capo
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Post by Capo on Nov 28, 2005 0:44:04 GMT
_1. Rear Window 1954 _2. Vertigo 1958 _3. North by Northwest 1959 _4. Psycho 1960 _5. Rope1948 _6. Secret Agent 1936 _7. Foreign Correspondent 1940 _8. Blackmail 1929 _9. The 39 Steps 1935 10. Stage Fright 1950 11. Strangers on a Train 1951 12. The Lady Vanishes 1938 13. The Birds 1963 14. Young and Innocent 1937 15. Notorious 1946 16. Saboteur 1942 17. Lifeboat 1944 18. Shadow of a Doubt 1943 19. I Confess 1953 20. Rebecca 1940 21. Dial M for Murder 1953 22. Sabotage 1936 23. Torn Curtain 1966 24. The Man Who Knew Too Much 1955 25. The Wrong Man 1956 26. The Lodger 1926 27. Number 17 1932 28. The Man Who Knew Too Much 1934 29. Family Plot 1976 30. Easy Virtue 1928 31. Frenzy 1972 32. Topaz 1969 33. The Trouble With Harry 1955 34. Jamaica Inn 1939 35. The Farmer's Wife 1928 36. Under Capricorn 1949 37. Rich and Strange 1931 38. The Skin Game 1931 39. Spellbound 1945 40. Suspicion 1941 41. To Catch a Thief 1955 42. Marnie 1964 43. Mr. & Mrs. Smith 1941 44. The Paradine Case 1947 45. Juno and the Paycock 1930 ^^ Approximate rankings.
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Post by Driver on Dec 8, 2005 17:08:17 GMT
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Post by Vercetti on Dec 11, 2005 18:38:24 GMT
Vertigo Rear Window Psycho North by Northwest Strangers on a Train Foreign Correspondent Rope Notorious The Birds Spellbound The Man Who Knew Too Much The Wrong Man The Trouble With Harry Stage Fright
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jrod
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Post by jrod on Dec 12, 2005 4:45:52 GMT
Rebecca Rope Shadow of a Doubt Rear Window Vertigo Notorious The Birds Physcho North by Northwest
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Pherdy
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Post by Pherdy on Dec 29, 2005 13:07:43 GMT
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jrod
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Post by jrod on Jan 20, 2006 3:39:01 GMT
Watched the first disc of my roomates box set, Im getting to the 39 steps Capo The Lady Vanishes Sabotage
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Post by Mike Sullivan on Jan 21, 2006 2:49:40 GMT
Watched the first disc of my roomates box set, Im getting to the 39 steps Capo The Lady Vanishes Sabotage Nice. These are all films from the British period, or so I presume. here are somereal gems there and they prove that Hitch didn't have to wait to get to America to find his true talent. Notice in his silent pictures as well how much the German expresionists really shaped his work in terms of cinematography and editing. Really, some great stuff there.
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jrod
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Post by jrod on Jan 24, 2006 9:15:36 GMT
A few more The 39 Steps Blackmail Jamaica Inn Number 17 (0) The Man who Knew Too Much (1934 version) 2 discs, with five total films left in the set watching
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Post by johndav on Jan 24, 2006 12:34:04 GMT
North by Northwest 10 Vertigo 10 Marnie 9.5 Rear Window 9 The 39 Steps 9 Notorious 8.75 Rebecca 8.25 The Birds 8 Blackmail 8 Psycho 8 The Man who Knew Too Much (56) 7.5 The Wrong Man 7.5 To Catch a Thief 7.5 Suspicion 7.5 (shame about the ending) Dial M for Murder 7 Shadow of a Doubt 7 Strangers on a Train 7 The Lady Vanishes 7 Sabotage 6.5 Torn Curtain 6.5 Spellbound 6.5 The Lodger 6.5 Lifeboat 6 Rope 6 Frenzy 6 The Trouble with Harry 5.5
Jamaica Inn + The Paradine Case: saw when younger, recollections too hazy.
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jrod
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Post by jrod on Jan 28, 2006 7:53:03 GMT
Watched the 4th disc of the series, only one left to go. Sorry to update this in short increments but I love talking Hitchcock and always like to see his topic near the top The Secret Agent Murder! (0) Young & Innocent The British films arent as good as the ones he brought later in America, but every couple of them I get an absolute gem. Probably my favorite director
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Capo
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Post by Capo on Jan 28, 2006 21:17:11 GMT
With bigger budgets and stars, I think Hitchcock was a lot more consistent; I still have yet to watch his remake of The Man Who Knew Too Much. Perhaps that will give the most insight as to the difference between his British and Hollywood periods.
Isn't the drumming climax to Young and Innocent brilliant?
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jrod
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Post by jrod on Jan 28, 2006 21:26:46 GMT
It really is.
Hes still got the ability to put together AMAZING suspense scenes back then, but like you said, its the resourses he had later.
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Boz
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Post by Boz on Aug 17, 2006 17:30:29 GMT
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Capo
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Post by Capo on Aug 17, 2006 17:37:09 GMT
Conventional? Or the template for what would be convention?
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Boz
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Post by Boz on Aug 17, 2006 17:39:37 GMT
Well, I'm really in no place to say. Perhaps outdated is the word.
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Boz
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Post by Boz on Aug 17, 2006 17:56:02 GMT
I'm not that familiar with his work. Did he ever venture into more personal territory with his films? Or was it basically all shallow?
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Capo
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Post by Capo on Aug 17, 2006 18:06:54 GMT
Shallow? What? Rear Window is one of the most significantly cinematic films I've ever seen.
And I've always felt his work is psychologically quite ambiguous; patriarchal, yes, but not without subjectivity. In fact, I'd liken his approach to filmmaking, his cynical humour and general disdain for the incompetence of the human race (that's how he described the allegory of The Birds), to Kubrick. A brilliant visual storyteller, always aware of what is happening where within the frame, the importance of visual composition, and master of mise-en-scene. I don't see emotional manipulation in his work at all.
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Boz
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Post by Boz on Aug 17, 2006 18:10:04 GMT
There was just never any real human conflict in any of his films to me. It's always just like, "Where's the killer?", "Who's that sneaking around in the shadows?" etc, etc.
Vertigo somewhat seemed to venture into something deeper but it ultimately came off as ineffective to me.
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Capo
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Post by Capo on Aug 17, 2006 18:16:26 GMT
Vertigo and Rebecca, both adapted from novels, have deep connections with their characters (the latter having a rather overbearing, posthumous presence throughout). You won't find much character dilemma in the vain of The Conversation or Chinatown in Hitch's work; he's more interested in having his cast (he called actors "cattle", free to move around at will) serve his camera, his visuals. I think he was more interested in how his actors/characters moved through a scene, not what they actually did or how they did it. He was constantly reinventing ways to have people move through frame. That's why he has more memorable isolated scenes than any other director, for me. The crop-duster chase in North by Northwest; the murder at the top of the stairs in Psycho; the long bouts of silent narrative development in Rear Window; the windmills in Foreign Correspondent; the umbrellas in the rain, from the same film.
Emotionally cold, if anything; but it hasn't stopped anybody loving Kubrick or Godard or Resnais or other filmmakers interested in form.
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