The narration and presentation at the beginning of the film are very natural, and it is easy for people to enter the crazy afternoon in the hot Phoenix. The subjective shot into the hotel is easily reminiscent of "Rear Window", and the suitcase full of replacement clothes quickly cuts into the theme of the story without any delay.
I really like the part of Janet driving in the rain. The violent storm is accompanied by the thrilling and even a little harsh violin scream, heralding the protagonist's uneasy state of mind and complicated future. No matter how fast the wiper is running, the future is still confused and doubtful. At this time, the vehicle is more like a boat in the ocean, helplessly heading to the other side of despair.
Next is my favorite Norman Bates, with a beautiful face, a thin body, and a gentle manner. Perhaps it was the cup of warm milk he brought on a rainy night that gave Janet the courage to know how to return. And the beautiful and indispensable blonde also gave this young man who doesn't care about the world a huge attraction and shock at this time.
Hitchcock switched the protagonist after 40 minutes of the film, and the bathroom murder scene everyone knew came. Although I was prepared, I was still shocked by Xiao Xiao in view of the effect of the large screen and 6-channel sound field. I can't help but worry a little for the audience of 48 years. I don't know if someone would have a heart attack because of it at that time. After all, this was a sudden event without warning. Then the heroine disappeared, and the younger sister played by Vera Miles appeared.
I also like the scene where my sister walks to a mysterious building to visit Norman’s mother. The building that I shot up looks terrifying. Once again, the camera takes a subjective lens to shoot the closed doors, the long and narrow stairs, and the intricate rooms. Every corner seems to be hidden. Keeping the secret, every moment seems to be looking forward to the appearance of the murderous madness, the master of suspense is indeed well-deserved.
The last one is my favorite, of course, the end of the film. Norman Bate's terrifying and deep eyes once again attracted me. That pure face was so evil at this time and accompanied by the overlapping shadow of his mother's skeleton, as if from another world. At this time, I thought of "The Silent Lamb", "Seven Deadly Sins", and "Fatal ID". And here today, Norman Bates is their originator, and Hitchcock is the originator of thrillers.
The film was over, and the cinema burst into applause, and the Chinese audience finally got used to this way of showing respect. I also stood up, ready to keep the ticket stub, after all, this may be the only close contact with Hitchcock in my life.
If God makes me 10 years younger, maybe I will choose to be a filmmaker. This is really a fantasy world, a world of dreams.
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