A Long Hard Look at Psycho
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Mai , 20h im ExZess, Leipziger Str. An essay about the friendship, collaboration, and intellectual affinities between the filmmaker Stephen Dwoskin and critic Raymond Durgnat, forged during the early days of the London Film-Makers' Co-op in the late s. Slade film school: the department that was nearly a movement. El universo Pshyco. La ansiedad de la influencia en la obra de Hitchcock. Haven't you? Joseph Smith's The Psycho File also presents a lot of lore, some of it erroneous.
The Eroica is Beethoven's third symphony, for instance, not his ninth.
Smith's interpretations can be acute, however. Discussing the film's ambiguous sense of time, he remarks that as Marion drives forward while viewing the police car in her mirror, objects seem to move forward and backward simultaneously, making visible "the way so much of the story moves toward the past" even as it pushes relentlessly ahead. Commenting on the film's symmetries and reversals, Smith poignantly connects our last view of Marion in death with her explanation of why she pulled her car off the road for a nap.
A few hours later, tragically and irremediably, she can no longer keep them closed. Observations like these make Smith's book well worth perusing.
A Long Hard Look at "Psycho" (BFI Film Classics)
There isn't much biography in this book, but there's more plot synopsis than you'll find this side of a well-stocked press kit. His outlook on silent film is a good example of his wrong-headedness, and it's very relevant to his Hitchcock criticism. So much for the long list of masterpieces that period produced.
Psycho is exemplary in this respect, most stunningly in the long stretch of wordless narrative that begins when Marion returns to her room after talking with Norman and ends with the cry of "Mother! Oh God, mother!
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Of course there is music during some of this, but there was music in silent-movie theaters too. Is a critic who looks down on silent cinema a good choice to opine about a film that communicates so richly through images alone? I think not, and here are some Thomsonisms from The Moment of Psycho to back up my contention.
On the protagonists: "The great difficulty facing Psycho is that our identifier in the film Janet Leigh is gone.
A Long Hard Look at Psycho (BFI Film Classics)
But he had also isolated films from the larger horizons of meaning. Thomson says Hitchcock conceded to the slasher-movie subgenre, when in fact he pretty much invented it with this very film; 7 that Perkins's Norman is insufferably dull, which makes you wonder how he became a near-universal icon of American culture; and that Psycho somehow cut off cinema's ability to connect with important issues, which disregards the myriad critics and scholars who have found its horizons of meaning to be very large indeed.
http://officegoodlucks.com/order/58/3380-espiar-moviles-por.php All this reinforces my belief that Thomson's sensibility isn't so much scrappy and opinionated as insular and contrarian. This book was not one of his better ideas. I've been concentrating on critics' responses to Psycho , but people who worked on it have also expressed interesting views, and sometimes puzzling ones, like the notion that there's no knife-penetration shot. Even reminiscences can be perplexing. Seeing the picture in Los Angeles on opening day, screenwriter Stefano told Rebello years later, he was astonished to see grownup moviegoers "grabbing each other, howling, screaming, reacting like six-year-olds at a Saturday matinee I never thought they'd be so vocal.
And neither did Hitchcock.
He didn't realize how funny audiences would find the movie, generally He was confused, at first, incredulous second, and despondent third. I'm skeptical about these stories.
This in no way diminishes the film; as critics have long observed, its deeper meanings are likely to emerge only with multiple viewings, and Psycho soon accumulated more return visits than any picture had before.
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