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A rear view of Alfred Hitchcock by Alan Saunders

In culture, film, interview, philosophy, visual arts on August 21, 2012 at 21:39

 

From: A rear view of Alfred Hitchcock by Alan Saunders, The Philosopher’s Zone, ABC Radio National, http://www.abc.net.au

Alan Saunders: Now the action of the movie occurs naturally, given the single-take effect; it occurs more or less in real time, which means that the murder is committed by daylight, and as the time goes on, is discovered at night after a party attended by the parents of the boy they’d murdered. What does this move from daylight to night, what does this have to tell us about the moral world of the movie?

William A. Drumin: The meaning that Hitchcock, as the director, seeks to ascribe to a film, philosophic or otherwise, is how he films it. Now my view is that see these two young killers want to cut themselves off from society, they regard themselves as above society, and that apartment, that closed-in compartment that’s kind of a separate world, as if it said they are the gods of this world you see, disposing of things by their superior intellects, and that kind of thing. So by filming continuously, I feel that Hitchcock is acting to break, to oppose the attempt of those killers. To say, No, you are wrong, society will re-assert its authority. You cannot arbitrarily cut yourself off from the social relationships you see.

You remember at the end of the film how Jimmy Stewart opens the window and fires the three gunshots out of the window? And then you hear the noises from the street filtering up, and the sound of the police siren and so on. That’s a liberating act, because this closed apartment has kind of been a vision of hell, where God and morality has been shut out, and now continuity has been re-established. So I think that in filming continuously, he establishes his stance towards the action of the film.

Listen to the broadcast / read the transcript

Reposted with permission from: ABC Radio National

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