In Hitchcock's film, the real serious threat to the "wrong person" is undoubtedly the bad guy. These people can be a cunning and brutal foreign spy group, or they can be the culprits of ordinary criminal cases. But no matter which type, they must have a strong enough dramatic conflict with the protagonist to create the horror and suspense effects that the audience expects. In "Thirty-Nine Stairs", Hanna is chased by spy agents all the time from his apartment in London to Mr. Severe Finger's mansion in the Scottish Highlands, as well as the inn where he spends the night; and the male protagonist in "Frenzy" In the end, he was planted and betrayed by his friends (in fact, the real murderer).
In contrast, although the police in the film pose a certain threat to the protagonist due to the wanted pursuit, they are far less than the bad guys. It can even be said that the existence of such roles is more due to narrative logic considerations. As the director himself stated, "The first thought the audience has when they see the male protagonist being chased by bad guys is why he doesn't go to the police? Okay, because he is also wanted by the police, so naturally he can't go. Call the police and do it alone. So the story can develop reasonably.” In addition, if they happen to be describing a group of British police, then they are unfortunately (just the opposite to the audience) designed to be bureaucratically inefficient. Synonymous with timid and stupid, it also serves as a provider of comedy and jokes. This, in turn, further weakens the suspense and horror of the relevant plot.
The biggest problem with "Young Girl" is that it does not deal with the two roles of good and bad guys and the police, so that the life of the protagonist in the film is hardly threatened. The story narrated in the film is an ordinary homicide, and the real murderer is an impulsive crime mortal, who has no ability to threaten the protagonist (although the windbreaker belt can be understood as a kind of planting, but the strength is far from enough). Therefore, all tensions and crises can only come from the police chase. Unfortunately, these police officers are a group of British police officers with a typical Greek style. First, let the suspect escape from the court, and then when he searched the deserted house, he was funny and timid to the girl puppies-if you take into account the differences in dog breeds and sizes, they are even worse than their counterparts in "Thirty-Nine Steps." timid!
In addition, the character combination of the main characters is not ideal, and the overall level of the film tends to be mediocre. The police chief’s daughter who was under 18 years old knew at first sight that the male protagonist could not be the real murderer, but it really echoed the title: young and innocent. Although it can be accepted in terms of authenticity (love at first sight), it is undeniable that this kind of character combination lacks a distinct point of opposition, which makes it difficult to produce an ups and downs storyline that attracts the audience. Recall the contradiction between the two of them in the process of fleeing? It seems that the most serious thing is whether you should drive to your aunt's house or continue to the tavern where you lost the trench coat to investigate clues and get rid of the protagonist. Compared to the murder case, this is a trivial matter. In contrast, it is much better for the heroes and heroines in the "Thirty-Nine Steps" and "The Missing Lady" of the British period to rejoice in their enemies. Especially in "Level Thirty-Nine", the protagonist has fallen into the hands of the "enemy" twice because of a woman's accusation. In the small inn, if the two spy agents hadn't said that they had left, the woman's third effort might have really been done!
There are two shots in this film worth talking about. The first is, of course, at the end of the film, where Hitchcock used the prom panorama to finally push to the close-up shot of the drummer's blink. But what interests me is not the camera itself, but the logic of the drummer's behavior at the time. After seeing the beggar and the police arriving one after another, he became nervous and caused the blinking disease to recur. There is no problem here. But the problem was, why didn't he leave the meeting with excuses afterwards? Are you afraid of being fired? It makes no sense! Is a job of drumming really more important than escape from murder? …On the issue of "suspension of doubt", the highly stylized Hitchcock movies generally do quite well. But the end of the film that made the real murderer show his feet, it still challenges my bottom line of suspicion to some extent.
In another shot, the woman was successfully pulled up by the man during the crisis of the car crash. This is a patterned plot from "The Seventeenth", "Cape Catch the Murder" to "Rear Window", "Vertigo" and "Northwest by Northwest". It is an exaggeration to say that almost every Greek film has a "hanging on the cliff" patterned plot. . Originally, I only noticed its frequency, but didn't think much about it. Recently, after watching an interview with Hitchcock, I have a new understanding of this issue.
The interviewer originally asked why he did not like chasing scenes, and whether it was because the action scenes were not controlled by the director. The answer of Hitchcock, who turned to the cross-editing later, will not be discussed here. Just say that "out of the director's control" mentioned in the question. Think about it carefully. Compared with action scenes such as hand-to-hand combat, gun shooting, and car chasing, high-altitude suspension is indeed the most quiet one. And this kind of "quietness" can bring Hitchcock's benefits in two respects:
first, hands that you can’t grasp at first; sleeves that are slowly torn apart; To achieve the desired "delayed suspense" effect. On the other hand, it is also the most important: Only when the action scene is "quiet" enough, can he calculate his sub-shots in advance! If you put it more sharply, it would be that when the two filming concepts of "always trying to tell a story in a novel way" and "total control of the film screen" conflict, Mr. Hitchcock will not hesitate to choose He does not hesitate to let the audience watch the plot of "Cliche" he opposes over and over again!
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