The technical aspects of the production such as scenery, properties and costumes also played a keynote in the productions success. The scenery was fabulous it truly made the play. It was very realistic and extremely vibrant. Almost the entire play was performed in one setting, except for the railcar and dance scenes. The house, the main setting, was magnificent with painstakingly placed detail in every corner. All elements in the house matched wonderfully, for example the furniture, the photos on the wall, the telephone and even the trash can. Little bits of detail were everywhere adding to the beautification of the set, for example the lace decorations on the chairs, the etched glass above the front door and even the Christmas tree.
Both readers and audiences have trouble correctly insinuating the level of emotion they shall spend with a particle scene, or they are not sure how dramatic this scene should be. For example, while reading the book, there is a scene when June was having a conflict with her mother in the kitchen, and she ended up understanding for the first time the way that her mother hope from her was different as what she previously believed. As readers, it was just like any mundane conflict between a mother and daughter would usually have everyday. Some audiences didn’t realize that this scene is one of the key connection with the plots until they watched the movie. This scene in the movie took a much important role. The characters were so emotional which led the conflict to be so dramatic to the audiences, most of them were very touched by the way the these actors are expressing their emotion through facial expressions and gestures, and even cried while watching this scene. Another great example in this case, is the ending of the novel. When June arrived in China and finally get to meet with her two sisters. This part climax of the whole movie, the background music was strong, the surrounding setting was prefect, the performances were great. Almost every single audience was being very emotional at this part. However, while reading the book, many of the readers didn’t trust to tears on the last
The way the film was presented was partially effective for the fact that the message of the story, for me, was not easily or instantly understood. This is a humongous deal as a result of if I was not able to understand it at an age of 15 then a great deal of children would not be able to understand that message. When I first saw this shot my reaction was “look an insane decrepit man” which is a great deal of people's reaction to the film, I'm guessing.
Alfred Hitchcock is perhaps known to many as either a dark, twisted monster, or as a devote Roman Catholic who layers his pieces of work with a profound sense of Catholicism. Many people failed to see Alfred Hitchcock’s hidden Catholic subtexts, however, his various concerns with redemption and justice, guilt and sin, and the presence of a Divine Grace throughout a world that is completely consumed with evil, is all mysteriously portrayed in a philosophical way. In his movie, Rear Window, not only does Hitchcock use his characters to divulge the guilty Lars Thorwald of murdering his nagging, sick wife, but he also uses them in order to prove that the presence of sin lies within everyone; even the neighbors who are just observing from a distance.
The scene described above appears to be quite critical to the plot development in the movie. However, this appears nowhere in the original text. The viewer must ask him/herself why this was added and the consequences of the change.
Another aspect of this film is that it is in black and white. This gives it a serious tone. The lighting they used also gave a dramatic effect. There is a scene where two gentlemen are talking but you can see Kane dancing in the reflection of the window. This reminds the audience that he is still important to the scene even though he isn't directly involved. This
The filmed opened up with a flashback of a girl in a red dress. By showing this a sense of anticipation is created. Throughout the book a feeling of suspense is created by the way the director decided to film each scene. The director also made sure
The film?s setting was in present and past scenarios, which made it very interesting. As the old man Duke read the story, in a past plot, and the story began to climax, he would be interrupted by someone in the nursing staff, bringing them back to the present. This lineup of events leads to a sense of curiosity as I began to wonder what these two plots have in relation. This curiosity will soon be fulfilled as the story develops, and the two plots start to intertwine.
Like many of his films, Alfred Hitchcock’s Rear Window (1954) is an intense study in the sometimes-jarring idiosyncrasies of its main character, L.B. Jeffries (James Stewart). Jeffries is an observer by nature, a professional photographer confined to his apartment by an injury, with only insurance company nurse Stella (Thelma Ritter) and his girlfriend, Lisa Fremont (Grace Kelly) for company. This limitation impels him to begin observing his neighbors, and he witnesses events that lead him to believe Lars Thorwald (Raymond Burr) has murdered his wide. However, Jeffries’ watchful habit raises serious questions about the relationships between neighbors and ethics of observation in densely-populated urban settings. Rear Window uses set design and disparate camera techniques to codify the acceptable and unacceptable ways in which a city dweller might observe their neighbors, based largely on level on intent.
“We all go a little mad sometimes,” and that could possibly be exactly how many feel after watching Psycho, released in 1960, and directed by Alfred Hitchcock. Hitchcock took a different route in terms of plot and structure for the typical Hollywood style. Psycho, like a young child never stops asking questions, it leaves us in a state of doubt and unbelief. It is classic horror, with the numerous jump scares leaving us at the edge of our seat, as every moment passes. Yet in the beginning, it 's seems to portray a rather classic form in a sense, a near-Aristotelian story. A woman who appears to be the main character in love, who is then faced with a problem, not enough money to marry her love, who then steals money to help build a future