Cartagena 1 John Cartagena Professor Papayanis The Art of Film 12 December 2011.

Style and Themes of the Master of Suspense. Alfred Hitchcock can be considered one of the greatest directors of our time. The innovative techniques he employed in his productions brought the genres of his movies to new heights and made him an ever-popular household name in the film industry. Having migrated from England to the United States, some consider him to be the master of suspense due to the fact most of the plots of his films were laced with elements that caused anticipation and anxiety in his audiences. The two films I will be discussing are North by Northwest (1959) and Psycho (1960), both of which can be categorized as thrillers. After having watched these significant movies, a case can be made for Alfred Hitchcocks cinematographic qualities based on observations of his signature style and recurring themes. Tim Dirks, who is the writer and editor for AMC filmsite describes thriller and suspense films as having plots [that] involve characters which come into conflict with each other or with outside forces, [where] the menace is sometimes abstract or shadowy. Even though these two films are suspense thrillers, they each are a hybrid with other genres as well. In North by Northwest the suspense is mixed with the light-hearted, romantic comedy genre. At the complete opposite end of the thriller continuum is Psycho, which is mixed with the brooding, agonizing darkness of the horror genre. In North by Northwest, the menace is abstract because as viewers we have an idea as to why Roger Thornhill is being mistaken for the fictitious George Kaplan, but we dont have all the details to arrive at a

Cartagena 2 plausible conclusion until later in the film. In Psycho, the menace is very shadowy because we think that the psychopathic killer is Norman Bates mother, whom we later find out is nothing but a corpse, and realize that the killer indeed is Mother, one of the personalities that inhabit Normans psyche. In conforming to aspects of the horror genre, Psycho allows audiences to confront and vicariously conquer something frightening that we do not fully comprehendthose frightening somethings are aspects of our existence even more intimidating than technology or science: death and insanity. Both represent the ultimate loss of control and a terrifying, inescapable metamorphosis (Looking at Movies, 92). In terms of thematic qualities, Hitchcock manages to use several of the same themes in his films. After having watched the two aforementioned classics, there are recurring themes that stand out in both films, some in more overt ways than others. Among the more obvious, noteworthy themes in these movies there is secrecy, voyeurism, conflict between mother and son, and love affairs. Each of these themes is cleverly adapted into the narrative of each movie in such a way that they charm the viewer into reacting to characters in certain ways or identifying with them in some way or another. Hitchcock is also known for the use the themes of sex and sexuality, marriage, conflict between good and evil and vulnerability. These two movies approach the theme of sex and sexuality in completely different ways: North by Northwest simply makes reference to them through the use of dialogue between Eve and Roger in the trains dining car which is filled with lots of sexual innuendos, as well as in the scenes when they are together in the cabin where the fade out implies that much more than making out took place. It would be wrong to not mention the classic ending shot of the train going into the tunnel, which leaves much to the imagination. The opening scene in Psycho, lets us arrive at our own conclusion as to what just took place between Marion and Sam as they begin to dress themselves

Cartagena 3 and return to their respectable lives outside of the hotel. Here, the sexuality implicit in the scene is subdued, understated, in keeping with the directors usual mode in these matters: you get the idea, but there is no panting, no heavy breathing in Hitchcock love scenes (Bertolini). This is how Hitchcock was able to integrate these themes into his movies, without breaking censorship rules, which otherwise would have prohibited him from depicting this theme for his audiences. North by Northwest tailors the themes of secrecy and voyeurism to fit into the plot by depicting the concept of secret identities and espionage. Roger Thornhill is mistaken for George Kaplan at the hotel with his colleagues, which kicks off the confusing frenzy that carries through the rest of the film when it comes to the characters supposed identities. Phillip Vandamm is convinced that Roger Thornhill is the spy George Kaplan, all the while Vandamm is not aware that his girlfriend Eve Kendall is a double agent. Meanwhile, Vandamm assumes the identity of Lester Townsend to add another plot point to keep the movie going and build up suspense. As the viewer, we think that Eve Kendall is Vandamms girlfriend, but later find out she is a government agent working undercover. Eve leads Roger to believe he is going to meet Kaplan in the famous crop duster scene, when in reality she is taking directions from Leonard in an effort to get rid of Thornhill. The voyeuristic theme is depicted through the idea of the government intelligence agencies keeping tabs on spies, through Roger gaining access to Kaplans hotel room, where he snoops through this fictitious persons belonging to find clues that will bring credibility to his predicament, and through Roger listening in on Leonard and Phillips conversation at the end of the movie. As the plot unfolds, and we begin to see the character development, the theme of conflict between mother and son is revealed through

Cartagena 4 Rogers relationship with his mother. Paul Gordon from Psychoanalytic Review gives some insight on the scene where Roger calls his mother from jail to bail him out by saying: The light-hearted tone of this scene must be explained as due to more than just Thornhills drunkenness, for that would merely beg the question in leaving unanswered the question of why Hitchcock decided to play this scene, as well as all the scenes between Thornhill and his mother, for laughs. The reason for all this comedy, I would suggest, is that without it the relationship between Thornhill and his mother would be too uncomfortable for the viewer to bear. As is often the case, humor alleviates the very discomfort which provokes it, and the fact that such banteringis also indicative of the fact that what we have here is an inappropriate relationship between a boy and his mother that is not just the effect of his being placed in jail, it is also the cause of his being placed in jail. Gordon is making reference to the fact that the whole ordeal Roger is in is because of his mother. If it wasnt because he was trying to get the waiters attention to send his mother a telegram about their dinner plans, he would have never been in the situation he finds himself deeply involved in for the remainder of the movie. The theme of love affairs, as they are perceived by the narrative and world of the characters, is one that has great significance to the plot of North by Northwest. There is a real love affair that begins to flourish between Roger and Eve on the train, and even though the different plot points that propel the movie complicate it, we know it ends happily ever after for these two characters. On the other hand, we have the bogus love affair between Eve and Phillip, which even though we learn it began as something real; it evolved into something that was inauthentic. The only purpose of Eves love affair with Phillip, once Roger came into the picture, was to aid the government intelligence agency in keeping tabs on Phillip and his

Cartagena 5 importing and exporting of government secrets. As a result of the government approaching her to help with the investigation, she finds herself in a dangerous situation towards the end of the movie, which serves as the catalyst for the famous Mt. Rushmore sequence. In this sequence, Hitchcocks cinematographic style is notorious. In the movie Psycho, these same themes are manifested in ways that are appropriate for the mood of this particular movie. Secrecy is a recurring theme in this film and the first secret, we, as viewers are let in on is the secret lunchtime rendezvous of Marion Crane and Sam Loomis. The dialogue that takes place in this scene in the hotel room reveals a lot about these two characters. Not only does it make us aware of the reason why they meet like they do, but the dialogue also reveals the motivation for Marions actions in the scene that follows. Upon Marions return to the office we are let in on more secrets. Caroline reveals to Marion that her mother gave her tranquilizers on her wedding night to calm her down, which infuriated her husband when he found out. Continuing the theme of secrecy is the fact that Marions boss keeps a bottle of liquor in his desk drawer, this secret is revealed by Mr. Cassidy, who himself reveals a secret about how he doesnt declare sources of income for tax purposes that would otherwise not allow him to keep the money he is using to buy his daughter a house. The theme of voyeurism is approached from two perspectives; first through the perspective of characters in the movie like Norman Bates who uses a peep hole on the wall to watch Marion undress and prepare to take a shower, and second through the perspective of the audience as spectators of what is taking place in the film, we are being let into the secret life of the characters in the movie. James Griffith writes in Film Comment that critics identify Psychos power with Hitchcocks masterful use of the cinemas essential voyeurism: the audience participates in evil by secretly peeping at illicit scenes and then identifying with the illicit, even criminal, acts

Cartagena 6 portrayed. In his critical analysis of the film, he elaborates on the theme of voyeurism and how it is explored for the enjoyment of audiences. He goes on to say that Psycho disturbs us not because of what it allows us secretly to watch, but because it makes us confront the terror or being secretly watched (Griffith). This insight on the subject of voyeurism as one of Hitchcocks themes in the film allows us to identify with the characters on a deeper level. In terms of the theme of conflict between mother and son, Psycho is the epitomized characterization of said theme because of the twisted way in which it is explored. The mood created by the progression of the plot of this movie serves to reinforce the twisted nature of the relationship between Norman Bates and his mother, and the fact that both Norman and his mother are the same person adds to the perverse note the film ends on. In contrast to this previous theme is the theme of love affairs, which is represented in the opening scene between Marion and Sam in the hotel room. It is obvious that this young couple is in love but their current circumstance prevents them from getting married and being a respectable couple. This theme is also explored through the love affair between Normans mother and the man that came between them and in some perverted level between Norman and his own mother. There are two lines in the movie that reinforce this last point and they are spoken by Norman when he is having a conversation with Marion in the parlor, he says that a boys best friend is his mother and that a son is a poor substitute for a lover, which plants the thought in our minds that there was a possible incestuous relationship between him and his mother. Alfred Hitchcocks signature style, in terms of cinematography, made him what you call a virtuoso, which is defined by Webster as one who has great skill in some endeavor, his endeavor being film making. Stylistic qualities such as the use of camera angles and movement, abstract composition, mastery of suspense vs. surprise and use of diegetic and nondiegetic sound

Cartagena 7 all came together in such a way as to create a work of art that only an auteur could craft. One of his most important stylistic qualities was the use of the MacGuffin, which is a term [used] to refer to an object, document, or secret within a story that is of vital importance to the characters, and thus motivates their actions and the conflict, but that turns out to be less significant to the overall narrative than we might at first expect (Looking at Movies, 34). Some critics have suggested that audiences were less concerned with the performances of actors in his movies and that they were mostly attracted to Hitchcocks style in movie making. Another notable trait in of his style was the directors cameo Hitchcock incorporated into his movies in such an inconspicuous way that was easy to miss, and at the same time was something that attracted audiences to his films. North by Northwest makes great use of camera angles and movement to elaborate on the films mise-en-scene, specifically the design and composition that is captured by the lens. The opening scene depicts Roger moving freely between locations, from his office to the sidewalk on Madison Avenue and to the taxicab that takes him to the hotel, the entire scene is shot in a closed frame. If we pay attention to the design and composition we realize that Hitchcock creates a claustrophobic, trapped feeling by having Roger get off the elevator, which is an enclosed space, then walk through the hallways of the office building leading to the shot outside on the sidewalk where we see throngs of people surrounding Roger and his secretary. We then see him get in a cab with his secretary, another enclosed space, thus setting the tone for the rest of the movie where Roger will find himself trapped by his circumstances and propelled to find a way out. There are two other instances where the use of closed framing stands out. One is the shot of Roger in Grand Central Station; the openness of this location creates a closed frame because Roger cannot seem to escape the chaos that ensues him by Vandamms goons and the police

Cartagena 8 following him. The second and more significant closed frame is the crop duster scene, which incorporates several cinematographic elements to impact the audience. The scene begins with an aerial shot of the setting, which reveals an open expanse that translates to a closed frame because Roger has no way of escaping once the plane begins to chase him. There is much suspense in the scene prior to the chase by the plane because the scene is silent; there is no dialogue and the only sound we hear is the cars driving by. The camera movement as Roger approaches the man he thinks is Kaplan only builds the suspense and keeps the audience on edge as to what is going to happen next. Hitchcocks abstract composition is depicted through having a bus stop in the middle of such a remote location, where it doesnt seem like there should be any reason for one to be in an unpopulated, deserted location, except for stylistic purposes. Hitchcock also uses abstract composition in the long shot of Roger running through the lobby of the General Assembly building and through the birds eye view of Roger running out of the building. Given that Hitchcock did not have permits to film in this location, the way he made these two shots made them look as if they were paintings or caricatures, linking them to the vivid and upbeat feel of the movie. North by Northwest makes use of diegetic and non-diegetic sound, with non diegetic sound playing a bigger role in the audiences reactions to certain scenes. The score of this movie gives the feeling of a chase, and the same orchestral composition is employed in key parts of the movie where a chase is taking place. For example, on the winding roads with Roger driving drunk down the hill trying to get away from his abductors, and of course in the Mt. Rushmore scene, where the same score adds to the suspense of Eve and Roger being chased by Leonard and the other bad guys. The only examples of diegetic sounds are the radio transmission in the police car when Roger is arrested after his disorderly conduct at the auction and when he is in the hospital room after Eve shoots him with blank rounds, there is a radio

Cartagena 9 broadcasting news on the table next to his bed. Here Hitchcocks employment of the MacGuffin is revealed to be the microfilm inside the statue Vandamm acquired at the auction. Mike Digou from Literature/ Film Quarterly gives insight as to the MacGuffin when he writes: Suspense rises because it is still unclear what Vandamm is doing. When Thornhill grows weary of the Professors verbal games, the Professor teases him with more information: War is hell, Mr. Thornhill-even when its a cold one. This comment suggest that Vandamm is either Russian or working or working for the Russians, and when Thornhill overhears Vandamm talking about the microfilm in the statues belly, everything makes sense. However, the content of the microfilm remains a mystery. Thornhill is uninterested in what is on the microfilm and, and because the audience has experienced the story with him, they do not care either. North [by Northwest] effectively explains enough about the MacGuffin so that the audience cares as little or as much for it as the protagonist does. This device along with his brief cameo is very much one of Hitchcocks signature qualities in terms of filmmaking. Hitchcocks brief cameo takes place at the beginning of the movie where we can see him trying to get on the bus as the door closes and drives away. These cameos were brief in nature because they were not meant to bring attention to him in the film, they were meant to attract attention to his film as an extra something that entertained audiences. Psycho is a very different movie than North by Northwest in terms of how Hitchcocks style is manifested in order to make the viewer react in a specific way. This movie uses camera angles and camera movement to makes us identify with a character or to make us experience fear. One of the scenes where Hitchcock makes use of several different kinds of shots is the scene after Marion has gone home with the money and is in her room packing her belongings.

Cartagena 10 The camera moves with Marion as she moves about the room gathering her things, and then cuts to the money in the envelope on the bed and then back to a medium shot of Marion looking at the money. Hitchcock also gives us a close up of Marion, where we are able to see the expression on her face as she is contemplating the crime she committed or is about to commit, since, she really has not decided whether or not she is going to go through with it. Once she is fully committed to the crime, the camera moves to a medium close-up where we are able to see Marion sit on the bed, take the money and put it in her purse. At this point she has decided to go through with the theft. The mise-en-scene here is worth noting because the use of on and off screen space plays an important role. The audience identifies with the camera, and its almost as if we are in the room with her, a feeling that is created between the alternating shots, which helps give a sense of orientation for the audience in Marions room. Later in the film, when the murders take place, we are able to experience fear and terror from what is happening, but these feelings are heightened to the maximum by the manner in which they were shot. The murder scene in the shower uses a variety of angles, capturing Marions murder from every imaginable angle Hitchcock could possible think of. The birds eye view at the top of the stairs when Arbogast is murdered adds to the terror we experience from that particular scene as well. John Bertolini from the New England Review theorizes that: Hitchcock makes us identify subjectively with Marion Crane and the detective, Arbogast, before and during their murders, but then lets us laugh and breathe a sigh of relief that we were not in fact the ones murdered. Audiences in 1960 reacted to the murder in the shower at first with shock and undiluted terror, since Hitchcock had placed them through his camera in the position of the victimHitchcocks way of shooting the murder scene terrified the audience much more than the murder itself: the sudden acceleration of the

Cartagena 11 cutting, a succession of so many shots, most lasting less than a second each, and each one implying merciless, catastrophic violence to a completely vulnerable (because naked) human bodythe manner was what was new, not the matter. The manner he is referring to is how Hitchcock was clever to use the different angles and shot to play tricks on our eyes and minds. Of course, none of the victims were actually hurt, but the rapid movement of the camera and what it captured in that flash of an instance make us believe that these characters are really being slashed and stabbed. Another interesting use of the camera shots is the scene when Norman is looking through the peephole on the wall. The way the extreme close-up of Normans eye, combined with alternating shots of Marion undressing in the other room is very subjective in the sense that there is more than one person participating in the act of invading Marions privacy. First is Hitchcock himself for having the vision to create such a shot, then Norman who is actually looking through the hole in the wall. Then there is the audience who also participates through the way the shot was arranged (Griffith). In terms of abstract composition in the design of the movie Psycho, there are a few things that come to mind. For starters you have the gothic looking Victorian house where Norman lives, which reminds you of a haunted house by the way it sits at the top of the hill behind the motel. The motel itself looks run down and like no one has stayed there for quite a while, which makes you think that any person with sense would not stay there. Then we have the set of the parlor behind the office, which by looking at the props; communicate something very twisted through the pictures of naked women on the walls mixed among all the taxidermy birds. These are all very appropriate for the overall feel of the movie, but make you wonder what kind of imagination a person must have to come up with these things. Hitchcock makes use of abstract composition right after the shower murder scene by shooting the water coming out of the shower

Cartagena 12 head from a low angle and then moving the camera slowly following the flow of the water down the drain. As the camera begins to zoom in on the drain, Hitchcock transitions to an extreme close-up of Marions eye ball. Also the movie presents us with the notion of a psychopathic, knife wielding old lady, who goes around brutally murdering people. The end of the movie shows us Norman sitting in a jail cell and as the shot fades out we can see a super imposed image of his mothers decomposing face, which signifies a complete takeover of her personality within Normans mind. The use of diegetic and non-diegetic sound in this film serves to build up the suspense and bring us to those climatic moments where the suspense turns into fear and terror. The diegetic sound of the toilet flushing, the water in the shower prior to Marions murder begins to prepare us for something very dramatic because everything seems so calm at this point. Then as the murder is about to take place, the non-diegetic sound of the famous score used in this scene terrorizes us as the murder unfolds before our eyes. Hitchcocks signature use of the MacGuffin is built into the plot with the stolen money in Marions possession at the time of the murder. This money is a minor elements used in the narrative that serves to move the plot along, but it does not take away from other elements of the plot which the director intended us to focus more on, such as Sam and Lila finding out what really happened to Marion, and who the real murderer is. The directors cameo was a bit more difficult to spot in this movie because Hitchcocks style in using this device was not meant to be obvious. He appears outside Marions office, turned sideways and wearing a hat and we can only see him briefly as Marion enters into the office. These two films are great examples of Alfred Hitchcocks talent in filmmaking. They both make use of themes that he is known for integrating into his narratives, and in each of these films are elaborated on in very different but very appropriate ways in order to fit in with the tone

Cartagena 13 of each of these movies. His signature qualities are exemplified in vivid, creative and memorable ways, leaving audiences with an impression of his style sufficient to label him as the master of suspense.

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Cartagena 14 Work Cited Barsam, Richard Meran., and Dave Monahan. Looking at Movies: an Introduction to Film. New York: W. W. Norton, 2010. Print. Bertolini, John. "Psycho at Fifty: Pure Cinema Or Invitation to an Orgy?" New England Review 31.3 (2010): 131,142,191. ProQuest Central. Web. 28 Nov. 2011. Digou, Mike. "Hitchcock's MacGuffin in the Works of David Mamet." Literature/Film Quarterly 31.4 (2003): 270-5. ProQuest Central. Web. 28 Nov. 2011. Dirks, Tim. "Thriller and Suspense Films." Greatest Films - The Best Movies in Cinematic History. American Movie Classics Company LLC, May 1996. Web. 06 Dec. 2011 Gordon, Paul. "R.O.T.: North by Northwest." Psychoanalytic review 91.2 (2004): 271-88. ProQuest Central. Web. 28 Nov. 2011. Griffith, James. "Psycho: Not Guilty as Charged." Film Comment 32.4 (1996): 76-. ProQuest Central. Web. 28 Nov. 2011. North by Northwest. Dir. Alfred Hitchcock. Prod. Alfred Hitchcock. By Ernest Lehman. MetroGoldwyn-Mayer, 1959. DVD. Psycho. Dir. Alfred Hitchcock. Released by Paramount Pictures Corp., 1999. DVD