Metaphor, confession and religion

Bryce 2021-10-20 19:01:07

Four brushes, Hitchcock's highest work. 1. The opening chapter explains the police officer's death indirectly caused by Ferguson, and the condemnation in the heart leads to the need for self-salvation, and provides feasible conditions for the occurrence of a series of subsequent events. 2. The relativity of love: In Gavin's seamless plan to kill his wife, the only uncontrollable thing is love. Ferguson fell in love with the fake Madeleine. After Madeleine's death, he ran into Judy, who was "similar in appearance". He pursued Judy because of his love for Madeleine. Judy also obeyed all Ferguson's requirements because of his love. 3. Active and passive, peeping and being peeped. Like Hitchcock's other movies, in the first half of the film, the male protagonist exists as the dominant player of the camera's viewpoint, while the heroine assists and maintains the correct operation of the viewpoint. After Madeleine's death, she completed the transfer of the dominant viewpoint and explained the truth of the conspiracy through monologues and flashbacks. 4. Feminine symbolization: the "artistic appreciation" inside and outside the painting; the hidden ambiguity of the subtle lines; the 360° rotation of the kiss; the end of the noir film-style fatalism. 5. Red and green interaction; hair style contains "Instinct" & "Beauty in Daylight". (9.5/10)

Adelbert 2021-10-20 19:01:07

#2018年6月重温第再#4.5; From the blurry scene of the opening film to the nightmare awakening and the distortion of the stairs in the overlooking, the tranced eyes from the beginning to the end convey the theme of "dizziness"; the mysterious atmosphere of the first half and The illusion experience is very exciting. The second half is obviously realistic. The rotating kiss camera connects two overlapping images/time and space. The highlight moment of "green light", the moment of shadow history; the night scene is blue, the interior is big red, and it is not visually No dizziness.