Hitchcock Vs David Caruso Analysis

Hitchcock V. David J. Caruso

Alfred Hitchcock named the “Master of Suspense” with his unique style in directing his most influential films. David J. Caruso who is known to direct a few films that were considered to have that Hitchcockian factor. Hitchcock’s film era took off early 1920s with his debut film Always Tell Your Wife (1923) and it was actually a short film that marked the beginning of his career. To the late 1970s with his final production named Family Plot (1976). During Alfred Hitchcock’s era not only was the style different especially his in particular but the technology was not as advanced as today where film has progressed with the use of CGI and complex cameras, special lighting, etc. Alfred Hitchcock had his special way of making sure his film would create the impact he pictured in his mind. He was the type of director that focused more on that actual picture displaying the plot rather than depending on the dialogue with his actors/actresses to verbally deliver (dialogue) the story. With his constant use of montage in which he zooms in on certain objects (for example an envelope of money on a table) and later on they connect to a particular event in which the plot unfolds. The different use of camera angles in which he carefully focuses more on because he feels it is what helps tell the story. For example fitting two characters in to one frame to involve the background activity while they have a conversation. Or the switching back and forth between a close-up of the characters faces during a dialogue scene in order to make the conversation seem more natural to the audience. The same concept is in mind when putting the camera angle at what is called ground level in which it captures both characters but from a l...

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...nd and wife are arguing. This helps the audience because of the protagonist’s expression that something suspicious is happening. Later on in the next scene the arrival of what seems to his a friend who has been helping him arrives and back and forth between the protagonist and her the conversation seems natural with the technique “”. When Disturbia in comparison to Hitchcock’s film Rear Window it doesn’t really begin until scene 11 where protagonist reaches for binoculars and Caruso uses a similar technique in which it puts the camera on the character’s point of view in which the audience can observe the same thing as him and in this case it’s the neighbor next door and he’s observing from a small window and the camera goes back and forth between the full view of the character observing to back to zooming in, in which we capture the event in which he is witnessing.