Hitchcock, often referred to as the “Master of Suspense” left an enormous impact on the thriller genre, changing the way people looked at it forever. Rear Window is perhaps one of the greatest examples of his revolutionary approach. Hitchcock changed the game through the utilization of a variety of stylistic and thematic elements that countless others have borrowed and used in an attempt to recreate the magic of his work in the modern age. One such attempt was by director Mark Pellington through his 1999 film, Arlington Road. The film uses many Hitchcockian elements, but while imitating it, Arlington Road simply does not live up to the standards of an iconic thriller as established by Hitchcock, such as Rear Window.
His movies gave rise to a new sort of film- thriller. Hitchcock devised two principles in his movies. The first being the use of famous landmarks as a backdrop for the suspense scenes and the second is his appearance in the movie. All of this just proves Hitchcock is not only a genius-in its true meaning- but that he mastered the art of cinemaaccording to Wordpress. I would like to inform you about the reasons of his ascention to the title Master of Suspense.
Through this characterization, Alfred Hitchcock also is able to establish an element of irony in the movie, that such a simpleton should be convicted as a criminal. In this movie he deviates from his usual genre of suspense and nail-biting thrill and takes on a more dramatic subject. The camera techniques and various other lighting and sound effects used are carefully selected in order to portray the apt emotion in the right amount, without overdoing any of it. Alfred Hitchcock loved to show the emotion of fear along with lots of suspense in his films.
It is a concurrent agreement in the film industry that Alfred Hitchcock is nothing less than a legend when it comes to the suspense and thriller genres of film. That being said, many filmmakers unsurprisingly aspire to adopt his style in more recent films. Movie critique Andrew O’Hehir suspects that this is the case with Mark Pellington’s production, Arlington Road, which follows the story of a man taken with the idea that his neighbors are terrorists. Although Pellington’s production possesses distinctively Hitchcock-styled qualities in its editing, storyline, and themes, O’Hehir argues that it is “…ultimately just another maddeningly ill-conceived tribute placed at [Hitchcock’s] feet.” However, it cannot be determined if Pellington meant for Arlington Road to be a tribute at all. The film may have a multitude of resemblances to Hitchcock film, but its finale fundamentally distinguishes itself unique to O’Hehir’s assumption.
In Carl Richardson’s book Autopsy: An Element of Realism in Film Noir he states that the film style “depicted life in odd ways, distorted for the sake of entertainment, but they also allowe... ... middle of paper ... ...he news. The audience sees that the men have already committed their acts and are now dealing with the consequences, even though they had thought they would escape them. The hyper-realism that Orson Wells and Billy Wilder established in their films helped them create a believable truth for their audiences that people with do anything if they feel they can escape the consequences. The realistic film environments that they created allowed them to show an audience why their characters believed they could act this way, the process in which they acted, and finally that they had already committed the acts because the audience was merely hearing the recollection of events. The men may have not gotten the results that they had planned for, but Wells and Wilder were successful in creating a realistic world that would help their message better be received by their viewers.
Psycho (1960) is filled with grisly shocks and disconcerting moments throughout this picture. A filmmaker’s film must give the ability to appeal to mass emotions and be an entertainer at the same time. Thus, famous director Alfred Hitchcock was the right individual for the direction of Psycho. Hitchcock is a veteran of adding disturbing images and frightening audiences by creating unique plot, characters, and tricking the camera. Hitchcock does this by establishing identification with characters like heroine Marion Crane (Janet Leigh) and a sensitive yet perplexing antagonist Norman Bates (Anthony Perkins).
In the movie adaptation, Millen sympathizes and empathizes with Johnson something that is not well brought in the book. It is very easy to see from the movie that the two men are alike and perhaps as different from the other characters as they are alike. Millen is just as reluctant to go after Johnson as we are to see him go after Millen. The plot of the book has been significantly reworked for dramatic effect. The most obvious of these changes is the role that constable Millen plays.
The idea that Lang is not punished at the end and the blame is put on the innocent is the total opposite theme that Hitchcock relays in his films. After viewing both Arlington Road and Rear Window, I believe that Arlington Road did not live up to its Hitchcockian roots. The main reasons are because Arlington Road had characters not relatable to the masses, refrained from keeping the movie from the point of view of Faraday, and the terrorist plots were blamed on the protagonist rather than the actual villain. Overall, I felt Arlington Road was a great thriller but when compared to Hitchcock, it came up short.
One of the most recognizable motifs in Hitchcock’s work is the concept of the audience as a voyeur to the action of the story, a theme that did well to increase the suspense of the story. Hitchcock applied this technique as a means to blur the line between those perceived as innocent versus those perceived as guilty. He engaged the audience in a way that made even the darkest soul seems slightly endearing; he made the viewer’s privy to secrets that sometimes even the characters on screen weren’t aware of. A recurring theme in several movies, such as 39 Steps, The Lady Vanishes, and Vertigo, voyeurism is perhaps best used two of Hitchcock’s most recognizable works—Psycho and Rear Window. Many believe that the role of voyeurism helped establish the success of these films.
The appeal of horror film is effective due to the traits of the human mind. Filmgoers of horror leave theaters with a positive train of thought, yet the negative nature of the content presented points to psychological factors which cause their enjoyment. Answers are found by looking at the psychological factors, how an individual processes emotional arousal, identifies with issues that they consider relevant, and perceives reality, help to explain why films presenting such horrific imagery excites many people. Many horror franchises create a level of violence and gore that is offensive to most, yet viewers continue to swarm theaters, making the horror film industry extremely profitable. Graphic horror cinema relies on shocking imagery as much as storytelling to create an effective type of entertainment.