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against my better judgement... a second go-round
i watched this in 2012 i think and was very impressed. as late as early 2014 i listed it as my 23rd-favourite. somewhere along the way i dropped it to two stars. but i'm curious to approach this with fresh
eyes
:)
eyes
:)
also, pre-emptively: JUSTICE FOR MIDGE
hitchcock watch lillian schwartz challenge
[i am informed that hitchcock has shuffled off his mortal coil] sounds like he should've watched lillian schwartz
hitchcock should take advantage of the knowledge of what's offscreen more often imho
[i am informed that hitchcock, having shuffled off this mortal coil, can no longer take advantage of the knowledge of what's offscreen] sounds like he should've taken advantage (&c.)
okay don't worry that's the last time i do this joke unless i discover some really funny reinterpretation
oh i get it this begins by inverting the climax of rear window. it's metacommentary or something
given freudian readings this is definitely a way to reintroduce the character
'the corset comes off tomorrow! ...i'll be able to throw *this* miserable thing out the window'
Oh.
Oh.
'midge, don't be so *motherly*'
gosh why did hitchcock ever attract freudian readings it's just too subtle for me to understand
gosh why did hitchcock ever attract freudian readings it's just too subtle for me to understand
extremely a fan of discussing that the brassiere 'works on the same principle as the cantilever bridge'. but also haunted by that julian barnes quote
('do not imagine that art is something which is designed to give gentle uplift and self-confidence. art is not a brassiere. at least, not in the english sense. but do not forget that brassiere is the french word for life-jacket.')
'three whole weeks.' okay yes this edit is *very* good
this whole sequence edits us so much more in her head than his & i'm terribly disappointed that doesn't continue. i understand of course but still...
like idk even the colours... she doesn't quite match the wallpaper but it certainly feels more Her existence / Her home. he's just another bit of furniture in her mind, not in any pejorative sense but in the sense of fondness & familiarity
...a *film* theory
hey wow this is actually pretty complex framing. i don't know that it *means* anything but it's certainly curious
is this to emphasise fear of height or something. it just feels v strikingly off
galaxy brain reading: 'the kessel run in less than 12 parsecs' is a deliberate reference to this mix-up with the odometer
genuinely a v nice movement. obviously yes yes the strength of the crimson walls and all that psychosexual connotation to emphasise the brilliance of the green dress but this kind of specific-general-specific movement in a single shot makes any story feel much bigger than it is
screencapping this profile shot bc iirc there is an important rhyme later and i want to keep this for comparison
look i'm not going to say this comparative framing perfectly symbolises dysmorphia but
i'm seeing double here... four grace kellies!!
even her motor's green. but that's emphasised here with connections to foliage. based on this reading so far i wonder what mary daly might've thought...
ah i see she's not going the one way. i get it (?)
this is turning out to be silence of the lambs. as is every movie i guess
in quite a few stealth games you have the option to open doors either slowly (sometimes multiple values of slowly) or all-at-once (often hurting whoever's on the other side) and really i wish more filmmakers kept that in mind
wow who directed this?? de palma??
i've read about the constant downhill shots during the tailing sequences but has anyone written something about... driving a car & supposedly having full freedom of motion but being restricted by the duty to tail a specific other car? which makes this whole sequence feel on rails
