In fact, the script is still very complicated, not to mention 60 years, even today, the director depicts the environment, love, human nature, the masses, and even insinuates ZF's stories and prophecies in a suspenseful and thrilling tone under the story of disaster. But I didn't feel chaotic, and although I didn't feel it stood out (such as the reconciliation between the mother and the heroine), the big narrative still unified the colorful branch lines, which was already very strong.
But what really struck me was the emotion conveyed through the camera. This has always been Hitchcock's most talked about place.
The first half is bright and colorful, the most impressive is that the heroine is on the lake, and the hero is driving a car to chase. The girl is charming and funny, and the boy's smile when he sees people clearly, courageous, and clever are all very good. This is probably the most relaxing scene in the whole film. It makes me feel that the first half hour of searching and chasing people has a collision result, so that all the elements of love in the back are not abrupt, because they "should" be there together. This is the emotion I read, far better than the thousands of so-called love movies now.
Another example is the crow on the shelf that everyone likes. The back-and-forth eyes of the heroine smoking, the change of perspective, the increase of crows, and the eyes that finally fell with the trajectory of a crow, the dense number of ominous birds, brought the audience's psychology to the throat.
In the end, before the hostess went upstairs, she took a look at the lovebirds in the kitchen. I thought this detail was great, and then followed the stairs with the familiar smell and entered the bedroom. Note that after entering, the first thing you see is the hole in the roof and the sky outside, and then a flashlight shows a tattered, eerie bed frame and a flock of birds. The bedstead was like a dark cave, in stark contrast to the clean sky. My understanding of the main idea is that the bed is a symbol of human habitation, and the outside world is a symbol of bird habitation. Human destruction takes away natural habitats, and birds revenge by encroaching on human habitats. That's why that bedstead is like the den of this disaster, even though it used to be the safest and most comfortable place to be.
It doesn't really matter whether my understanding is correct or not. What matters is that the camera conveys a mood to me, not what it conveys.
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