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Saboteur (42) Rope (48) the Merry Widow Waltz

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Saboteur (42) Rope (48) the Merry Widow Waltz Shadow of a Doubt (43) Director of Photography-Joseph A. Valentine Wolfman (41) Saboteur (42) Rope (48) The Merry Widow Waltz after ring inscription discovered the first time w/i film proper we get merry widows waltzing couples the waltzers connect the two Charlie's "The image is never placed. If the scene of dancing is real, surely its world must be long past, viewed through a screen of nostalgia. If the scene is only a vision, whose vision is it? The film's opening raises the questions of who or what commands the camera and what motivates the presentation of this view. Shadow of a Doubt begins by declaring itself enigmatic, even before it announces that its projected world harbors a mystery within it. Charles's mystery is from the outset linked to the author's gesture of opening his film as he does." Rothman page 179 William Rothman's Hitchcock: The Murderous Gaze, Harvard 1984 "The dancing couples image specifically resonates with the picture of the lost idyll in The Lodger's flashback" Rothman page 179 Joseph Newton (Father): Well the bank gave me a raise last January. Young Charlie: Money! How can you talk about money when I'm talking about souls? The one right man to save us. “This tilt down to the money: this camera movement does not disclose the thoughts on which Cotton is dwelling. Why is this man rolling in money lying in bed in broad daylight in a seedy rooming house? Where has all the money come from and why is he so indifferent to it? In introducing him in this manner—rather, in withholding a proper introduction, in presenting him to us as unknown—the camera's autonomy is asserted, its enigma declared. Charles's mystery, the mystery of the authors designation of him, and the mystery of the camera’s gesture are linked" Rothman, page 181 He awakens to darkness like a vampire. (The idea that Charles is a kind of vampire runs through the film. The issue of whether you can be photographed for example relates to it and when Charlie is told part of the truth about her uncle by Saunders, Graham walks ahead with Ann, who is told to occupy herself by telling the story of Dracula.) Rothman Page 182 Uncle Charlie reveals violence to audience tosses shot glass against sink UC knocks over water glass to distract Young Charlie from uttering "Merry Widow" JOE: "I don't believe in inviting trouble" UC tosses hat on bed CHARLIE: Can't we have a little peace and quiet without dragging in poisons all the time? Uncle Charlie, you're hurting me—your hands! "In a gesture whose audacity matches Charles's own, the camera twists elegantly to the left spanning the cityscape and finally settling on Charles himself in profile. Fully come to life, he surveys the scene with amusement and contempt as he puffs on his cigar. Again Hitchcock has declared a bond, itself enigmatic, between the camera and this figure, the bounds of whose power and theatricality we find ourselves unable to survey" Rothman page 183 "That's right, Santa Rosa, California" conjures He heard me! He heard me! It's my brother you know, my younger brother. The baby. Yes, of course a little spoiled. You know how families always spoil the youngest! camera dollies to the left to separate Momma Emma with her news of the murderous brother from her children cameo Skeptical Gazes Uncle Charlie you're awful, everyone can hear you. now directed toward Jack Graham At first I didn't know you. Why Uncle Charlie, you're not sick! I remember you sort of. You look different. Emma. Don't move. :18:31 Standing there, you don't look like Emma Newton. :18:33 You look like Emma Spencer Oakley of 46 Burnham Street, St Paul, Minnesota. :18:37 - The prettiest girl on the block. - Charles. :18:39 Mama, nobody got off the train but Uncle Charlie. :18:43 - Let me look at you. - There was only us meeting somebody. :18:45 - To think you could take the time off. - There was only one bed made up. :18:49 - It's so wonderful to have you here. - Emmy, Emmy, don't cry. :18:52 And imagine your thinking of 46 Burnham Street. :18:55 I haven't thought of that funny old street in years. :18:57 I keep remembering those things. All the old things. :19:00 (Joe) Emmy, how's he look? Same old Charles, eh? Seduces family by playing the blood relation card JOE: She's not crazy. Smartest girl in her class at school. Won the debate against the East Richmond High School single-handed. She's got brains. UC: (Chuckles) Not for you to read. Forget it. Good night, young Charlie. CHARLIE: Good night Uncle Charlie. Pleasant dreams. UC: Emmy, women are fools. They'd fall for anything. spatial relationship—quite apart We're not just an uncle and a niece. It's something else. CHARLIE: I can't explain it. But you came here and Mother's so happy and... I'm glad that she named me after you and that she thinks we're both alike. I think we are, too. I know it. Oh, it would spoil things if you should give me anything. UC: You're a strange girl, Charlie. Why would it spoil things? CHARLIE: Because we're not just an uncle and a niece. It's something else. I know you. I know that you don't tell people a lot of things. I don't either. I have a feeling that inside you somewhere, there's something nobody knows about. UC: Something... nobody knows? CHARLIE: Something secret and wonderful and... I'll find it out. UC: (Chuckles) It's not good to find out too much, Charlie. CHARLIE: But we're sort of like twins. Don't you see? We have to know. UC: Give me your hand, Charlie. (Places ring on finger) CHARLIE: Thank you. UC: I've never been photographed and I don't want to be. EMMY: Oh, Charles, how can you talk that way? I had a photograph of you. I gave it to Charlie. UC: I tell you, there are none. EMMY: I guess you've forgotten this one. Get it, Charlie. You sure you don't remember? UC: Of course I don't ever remember being photographed. Burnham Street. EMMY: Mm-hm. It was taken the Christmas you got your bicycle. - Just before your accident. CHARLIE: Uncle Charlie, you were beautiful! EMMY: Wasn't he, though? And such a quiet boy. Always reading. Papa shouldn't have got you that bicycle. You didn't know how to handle it. He took it right out on the icy road and skidded into a streetcar. We thought he was going to die. CHARLIE: I'm glad he didn't. EMMY: He almost did. He fractured his skull, and he was laid up so long. And then, when he was getting well, there was no holding him. And it was just as though all the rest he had was too much for him and he had to get into mischief to blow off steam. He didn't do much reading after that, let me tell you. It was taken the very day he had his accident. A few days later when the pictures came home, how mama cried. She wondered if he'd ever look the same. She wondered if he'd ever be the same. UC: What's the use of looking backward? What's the use of looking ahead? Today's the thing. That's my philosophy. Today. EMMY: If today's the thing, then you'd better finish your breakfast small town JC Penney's Joe often framed-trapped uniformed soldier to Charlie's left soldiers in front of 'Til-Two Cocktail Longue soldier count why we fight Flirting The discrepant tone shift UC frightening speech followed by Soldiers laughing-discrepant tone shift There is a spectacular stylized crane shot at the crucial moment in Hitchcock’s Shadow of a Doubt (1943) when young Charlie (Teresa Wright) finally learns the truth about her beloved, but murderous Uncle Charlie (Joseph Cotten). A crane shot is achieved by a camera mounted on a mechanism adapted from farm and building construction machinery known as a crane, which can extend vertically several feet to several stories. Helicopter or other air flight-mounted cameras can accomplish "super-crane" effects as well. In general an ascending crane shot away from an object, person, or scene can confer to viewers a sense of effortless, privileged superiority, escape, or alienation. It often serves as closure or poignant commentary inviting contemplation at the ends of films. A descending crane shot toward an object, person, or scene can confer to viewers a sense of increasing observation and interest accompanied, nonetheless, by a certain detachment. As is the case with all stylized techniques and devices, their significance is always dependent on the context within which it is used. Due to the expense, the use of crane shots often requires a big budget. In the library reading room young Charlie has been scouring a newspaper article indicting her Uncle who, the previous evening, had prevented her from reading the incriminating piece with the diversion of tearing up the newspaper to construct a barn, and later that evening forcibly prevented her by violently twisting her wrist. Hitchcock cuts from a choker close-up (extreme close-up from the neck to top of the head or closer, conferring intensity of emotion, etc,) of young Charlie’s face to a close-up of her hands centered over the Santa Rosa newspaper removing the ring Uncle Charlie gave her.
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