Word: hitchcocks
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Dates: during 1960-1969
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...will remain together; in La Notte, Giovanni and Lidia decide not to separate although they know their marriage will never be successful; Red Desert ends with Giuliana's realization that she must not commit suicide even if her life is filled with neurotic unhappiness. Unlike the films of Rosselini, Hitchcock, and Renoir, which follow characters in a state of emotional or spiritual crisis through a therapeutic chain of events, Antonioni's films are rarely concerned with major personal development or change. Instead, Antonioni fully reveals the nature of his character's dilemma, and then brings that character to a kind...
...theme of photography as an escape from reality is not a new one. In Hitchcock's Rear Window, the crippled photographer (James Stewart) uses his telephoto lenses to spy on his neigbors. He becomes involved with their problems in order to avoid coping with his own fear of life and an impending marital commitment. Through an ultimately therapeutic encounter with violent evil, Stewart can finally understand and solve his problems...
...Like Hitchcock and Fritz Lang, Antonioni feels that violence is an integral part of contemporary society and cannot be ignored. His photographer, like Hitchcock's, is brought back to reality by means of melodrama: waiting for the owner of a junk shop he wants to buy, the photographer wanders through a nearby park. Ignoring a bizarre fat lady that 99 out of 100 photographers would have snapped without thinking twice, he photographs pigeons instead, then two lovers kissing. The girl sees him and pleads with him to give her the roll of film. Unsuccessful, she follows him to his studio...
None of these will be new, either (though it's true there aren't many spy-westerns hanging around). Every thing has been done before, and in nine out of ten cases by Alfred Hitchcock. But if the writers and directors of spy movies feel free to borrow from The Lady Vanishes, Notorious, The Man Who Knew Too Much, North by Northwest, and on down the line, they have almost universally suffered by the comparison thus brought upon themselves...
Making of a Fake. What are the commonest imitations? Grotz lists 18th century and early 19th century cast-iron toys, banks and trivets, wooden signs, student lamps, Sandwich glass, Hitchcock chairs and Franklin stoves (the copies cost as much as the originals). Another popular fake is the "ancestor" painting-an anonymous portrait that the dealer sells by observing that it looks so much like the customer. As for Early American cabinetwork, the author estimates that no less than 80% of what is passed off today as 18th century dry sinks-and chests of drawers is in fact mass-produced, late...