The melodious and soothing violin suddenly transforms into a rushing, tidal wind music. Hitchcock's very keen scene in Reaper of Souls is still eye-catching. I love the fragments of dreams, as if I can feel the time at that time. The audience is amazed, and the dialogue can sometimes become abstract, and I admire Gregory Peck and Ingrid Bergman, the on-screen lovers, one sensitive and indecisive, appearing neurotic, the other with watery eyes, she was originally frosty and now she is again. Fire inside.
Hitchcock, who fully respected Freud's point of view in this film, said: "We spend our whole lives making up for the lack of childhood.
I like black and white films, which seem to have a quality: the story is the story. Filmmakers focus on how to make a film attractive enough without having to consider whether there is enough connotation behind the film to justify calling it a classic.
But a story can only be a story after all, and such films naturally have their shortcomings.
Black and white movies, or old movies, all have obvious avoidances, and they do not care whether a particular detail is reasonable or not. They choose to ignore it. This kind of incompleteness includes plot, emotion, and many places that need to stop.
I've often felt baffled when watching old movies, and said "what, what, thought it was cultural differences that caused my confusion, but now I increasingly think it's the narrative concept." Films made under this concept can only be broken products after all. Several times my disgust surpassed my love.
In the case of Dr. Edward, the twist at the end really embarrassed me. I might understand the cliché of the storyline (the protagonist suspected of being a criminal finds out the truth before the cops), but I can't be sure of a suspense movie where the confession of truth comes from the villain's over-the-top rhetoric, and if so, too It shouldn't be as staggeringly simple as this.
It's a bit aggressive, let's laugh at yourself, I watched half the movie with snacks, hope fat, hurt each other.
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