Night #13

Fellini called it an “apocalyptic poem.” He wasn’t so wrong, although whether we’re actually seeing the end of the world remains ambiguous, and that ambiguity is the chief source of the film’s terror.
Hitchcock introduces all sorts of reasons why the birds may be attacking…only to allow us to discard each one. What we’re seeing is nothing less than the full-blown chaos of nature. And the only adequate response is the open-mouthed shock that we see on Jessica Tandy’s face when she encounters a neighbor whose eyes have been pecked out.
“The Birds” infects your dreams because, unlike other horror films, it offers no catharsis and no resolution.

(Salon.com)

Night #13

Fellini called it an “apocalyptic poem.” He wasn’t so wrong, although whether we’re actually seeing the end of the world remains ambiguous, and that ambiguity is the chief source of the film’s terror.

Hitchcock introduces all sorts of reasons why the birds may be attacking…only to allow us to discard each one. What we’re seeing is nothing less than the full-blown chaos of nature. And the only adequate response is the open-mouthed shock that we see on Jessica Tandy’s face when she encounters a neighbor whose eyes have been pecked out.

“The Birds” infects your dreams because, unlike other horror films, it offers no catharsis and no resolution.

(Salon.com)

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Driving along the French Riviera, from Alfred Hitchcock's To Catch A Thief (1955)

  • Frances Stevens (Grace Kelly): I've been waiting all day for you to mention that kiss I gave you last night.
  • John Robie (Cary Grant): You know, back home in Oregon, we'd call you a headstrong girl.
  • Frances: Where in Oregon, the Rogue River?
  • John: Where were you born?
  • Frances: In a taxi, halfway between home and the hospital. I've lived in 27 different towns and cities.
  • John: Why, somebody chasing you?
  • Frances: Boys.
  • John: Well, you can stop running now.
  • Frances: When I was ten, my father died and they discovered oil on our land. And that's when I really started to travel.
  • John: You mean the boys' fathers were chasing you.
  • Frances: Yes. But I had the funny feeling that all they wanted was to get their hands on my money.
  • John: Oh, I'm impressed! Well on second thought, back home in Oregon, we'd have called you a RICH, headstrong girl. That would have made it alright.
  • Frances: Money handles most people.
  • John: Do you honestly believe that?
  • Frances: I've proved it!
  • John: You're a singular girl.
  • Frances: Is that good or bad?
  • John: Oh it's good. It's quite good. You know what you want. You go out after it. And nothing stops you from getting it.
  • Frances: You make it sound corny.
  • John: Well now, you're a jackpot of admirable character traits.
  • Frances: I already knew that.
  • John: Yes, I will say you do things with dispatch; no wasted preliminaries. Not only did I enjoy that kiss last night, I was awed by the efficiency behind it.
  • Frances: Well, I'm a great believer in getting down to essentials.
  • John: Yes, inviting me for breakfast, planning a swim and now this drive. Miss Stevens, I must say you are a girl in a million.
  • Frances: That's a routine compliment, but I'll accept it.
  • John: Oh. May I ask you a personal question?
  • Frances: I've been hoping you would.
  • John: What do you expect to get out of being so nice to me?
  • Frances: Probably a lot more than you're willing to offer.
  • John: I know. You're here in Europe to buy a husband.
  • Frances: The man I want doesn't have a price.
  • John: Well, that eliminates me.
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szymon:
Alfred Hitchcock’s The Birds Barbie doll
Nice. Now, if only it came packaged with a Ken doll that’s had both its eyeballs pecked out.

szymon:

Alfred Hitchcock’s The Birds Barbie doll

Nice. Now, if only it came packaged with a Ken doll that’s had both its eyeballs pecked out.

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