![]() ![]() By now though he knows exactly how to use the camera to manipulate the audience. Hitch's British pictures had great charm and character, but they were often technically a little haphazard. It is the purest example of murder in a "normal" setting, bringing the audience uncomfortably close to the killer, helped along with plenty of the grisly gallows humour that the Master loved. It represents a welcome return to the domestic murder dramas that had given him his earliest successes (The Lodger, Blackmail), with a storyline ideal for Hitchcock. Finally, with Shadow of a Doubt he came upon a project that was right up his street. He had made a couple of adventure thrillers in the vein of his late 30s British films, but the old magic wasn't there. ![]() Three years and five pictures into his Hollywood career, Hitch had been having some trouble finding projects he was comfortable with. ![]() He wasn't comfortable adapting his style to suit the material, but when the material suited his style he could do incredible things. Alfred Hitchcock's style as a director was a bit like a train it ran perfectly well, but only along its own lines. ![]()
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