Hitchcock Didn’t Just Understand the Rules of Visual Storytelling. He Practically Invented Them. As he created the idea of telling it visually as today i will talk about this golden rule as i feel like to tell you about this simple rule.
Rule one: The first of Hitchcock’s rules of visual storytelling is to start with a wide establishing shot. That means start out with a wide-angle lens, and communicate a sense of place, before introducing the characters. As lets show you a few examples of great shots that give you an idea of this type of notion. This shot form the movie form the movie of Rebecca” (1940) shows you this type of idea how to build a scene with just a visual cue alone as the way she stands in the shot shows you the masterful idea of that a shot matters to the frame to give you details on what goes on visually in the movie as visually is the simple rule that makes a flim magically work on screen.
The unnamed protagonist (Joan Fontaine) moves into Manderlay, she enters into a foreboding relationship with the estate’s housekeeper, Mrs. Danvers. Played with a supreme sternness by Judith Anderson, Mrs. Danvers is ferociously obsessed with the house’s first lady, the titular Rebecca, and while her spiritual connection to the deceased remains in question, Hitchcock alludes to such unearthliness in a handful of chilling shots, none more effective than the one above. Standing like a phantom in Rebecca’s bedroom (which Danvers refers to as “her favorite room in the house”), Hitchcock captures the housekeeper as a black silhouette against the ghostly transparent curtains, the room bathed in a soft, spiritual light. If there was any indication that Mrs. Danvers should not be trusted, this image is certainly it as shows you by it to give you all you need know on the building of this element as next scene form hitchcocks the birds as you can get an idea of a tense horror about to build up as often parodied but never bettered, this is one of Hitchcock’s most purely cinematic sequences. As the birds begin to attack, Melanie (Tippi Hedren) heads to the school to collect her fiancé’s sister (Veronica Cartwright). Melanie nervously waits outside the school, but doesn’t notice the crows quietly gathering on the playground behind her. as they are all sitting outside her class-room to show you that this scene is very chilling as it even more chilling with kids singing the background of it. As its a reveal of the horror to come.
The most famous scene that setups as often mocked in so many movies but never as chilling as the orginal scene is the famous shower scene as not only is this the most iconic scene of Hitchcock’s career, but arguably the most impactful single scene in cinema history. While killing off the heroine (Janet Leigh) so early in the movie is shocking enough, the brutal manner of her murder is even more disturbing. We never see the knife actually penetrate Leigh, and we never see any gore as yet this scene feels so personal and scary as part of reason why this scene works so well is because a shower is a personal space for anyone as you are meant feel safe in this place.
Rule Two: Another of Hitchcock’s rules is “Don’t Direct the Actors, Direct the Audience.” In other words, film every scene, every shot, with the audience in mind as you dont direct the scenes you tell your stories trough the visual frist as that simple rule is meant direct you to what you meant to feel at that moment of the scene trough the visual frist but not every flim-maker follows this golden rule but this rule is simple as it comes. here are a few examples of this type of mannerism in flim. Judy’s (Kim Novak) transformation into Madeleine is less boisterous and showy than some of Vertigo‘s more iconic moments, but no less potent. It uses color, lighting, and a melancholic track by Bernard Herrmann to create an atmosphere of majestic, eerie beauty. In it, Scottie (Stewart) asks the brunette Judy to pin up her newly-bleached hair like the late Madeleine Elster. This movie is all about the color green, symbolizing Scottie’s growing obsession with Madeleine as this scene shows you the obression of him over that person.
First off, this scene is so gorgeously shot you could print out and hang up stills of every frame. But it also shows how much Hitchcock was a master at taking his time to sow the seeds of suspicion rather than leaping right into a climactic moment. In North By Northwest, you slowly get the idea that something is awry as soon as Cary Grant’s Thornhill gets off the bus as this scene is a showcase of the power of visual story-telling. As not even word is needed to show you the fear of him a it comes down to him.
Rule Three:The third rule is the best known of the rules of visual storytelling—so much so that it’s often referred to as “Hitchcock’s Rule.The size of an object in the frame should be proportional to its importance to the story at that particular moment. In other words, use the framing of the shot to help communicate important story elements or detaIls to the viewer. this scene of Thorwald returns shows you raw power of it as not even need a word to show his fear.
You could pick countless scenes form this remarkable movie of the birds to showcase the raw power of what horror this movie showcases in the raw amount of horror that unfolds on screen as this marvelous scene shows you how without words horror can unfold on screen as the gas sation goes boom as its such a scary and intense scene of raw power on the screen.
Rear window review bonus feature
Hitchcock isn’t the master of tension without good reason as his direction in rear window of how Rear Window is one of the best instances of how Hitchcock builds tension as he manages to slowly over each scene build tension throughout the film. Rear window is is one of Hitchcock’s finest tales which is an tale of voyeurism in miniature as every open window in the blistering apartment complex that Hitchcock’s camera resides in leads to another character, another emotion, another scene, and another mystery that you are set upon to figure out.
James Stewart’s performance on the screen as Jeff is one of the finest acted on the screen. He emotes with such detailed movements that shows each of his expressions with his eyes and detailed movements that makes his performance truly special to watch unfold on the screen. James Stewart delivers possibly a career best performance as the stir crazy invalid. Restricted to only minimal body movement as its truly one amazing performance you watch unfold on the screen.
Thelma Ritter plays such a fine role upon the screen. Grace Kelly gives out such an amazing performance on the screen. Beautiful Grace Kelly is outstanding as the lovely girlfriend who turns into an adventurous spy as she gets interested in his boyfriend’s new hobby as she gets into the troubles of the mystery with her boyfriend. She is so charming to watch unfold on the screen.
You get the impression Hitchcock was a director that liked to be pushed and tested to his limits. From the early days of the cramped Lifeboat to the cleverly edited one-shot Rope, Hitchcock has enjoyed being technically restricted and challenged. Rear Window may have been filmed on the largest indoor soundstage at the time but he forced himself to remain tightly focused on the important elements of the story which was cleverly written by John Michael Hayes.
Rear window is superbly directed by Hitchcock with great use of suspense, the film presents the director in complete control of his film-making wizardry that is so smartly crafted out with wonderful Cinematography by Robert barks and a wonderful musical score by Franz Waxman that all make this movie truly come to life upon the screen.
Rear Window is a wonderfully simple thriller that also flirts with comedy and drama. With the always active photographer, L.B. ‘Jeff’ Jefferies, confined to a wheelchair he is left with little to do but spy on his fellow neighbours across the courtyard. Jeff becomes a voyeur in the same way we do when we watch movies upon the screen. Rear Window is an undisputed masterpiece that you simply will adore to watch anytime.
The Ruth rating:
I hope you enjoyed my tribute to marvelous hitchcock today as i talked on framing as this bonus review at end was another bit of tribute to him as i felt to give something new today then what i normally talk about in my artcles as today i am giving you fine examples of the master of how hitchcock is the master of flim no matter the era. I simply adore him as happy belated birthday to hitchcock. So good evening folks
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