Word: hitchcocks
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Dates: during 1970-1979
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...because of the sudden family disgrace. He then spends much of the film trying to hunt down and kill his own child, as if to win back community respect. Even a score by the usually excellent Bernard Herrman is of little help. Herrman did the music for many of Hitchcock's best films (Vertigo, Psycho). His participation in It's Alive lends it a fleeting and futile air of quality, like a concert virtuoso playing piano in a cathouse...
...spring, there is a hint of menace, but these hints are always resolved into a joke. Fellini shows us only one side of the dionysiac, and only avoids getting sappy as a Christmas card by making his all-encompassing benevolence bittersweet. The director's old persona as the Hitchcock or Resnais or Welles who set out to terrify or bewilder or impress his audience is replaced by kindly old Father Christmas figures like Fellini and Jean Renoir, who do nothing more than wave their wands over the world and turn evil into good...
...madness and is soon trying to reproduce the experiments. He is aided by a shapely but vacant assistant called Inga (Teri Garr) and by the stainless-steel housekeeper Frau Blucher, played by Cloris Leachman, who does a skillful and witty parody on the Judith Anderson role in Hitchcock's Rebecca...
...usual gap between the architect's conception and the everyday thoughts of the building's users. But Richardson's importance as an architect comes from his original manipulation of form and space, not from the round arches and towers he took from an earlier era. The scholar Henry-Russell Hitchcock termed Sever "vigorous," and "manly"--a phrase I deplore--and "rather more orderly" than other influential buildings of the time. What impresses me most is how Richardson subordinated the fine details to his concept of form. As detailed as it is, Sever is not decorated...
...only does De Palma send up every known form of rock, from hard to glitter, but just about every other pop style this side of Glenn Miller. He pays homage to such movie masters as Alfred Hitchcock and Raoul Walsh by echoing a couple of their most famous scenes. Like Truffaut, he borrows hoary cinematic devices-the wipe, the iris and the optical montage-only to mix them with currently fashionable gimmicks like the split screen. De Palma's axiom is that in popular culture, today's wow is tomorrow's cliche and the next...