This is a scene from Alfred Hitchcock‘s I Confess (’52). Please notice what happens at almost exactly the 1:51 mark, and especially how Dimitri Tiomkin‘s score slightly intensifies when this thing (i.e., an arrival of a new character) occurs.
All Hail Tom White, Taciturn Hero of “Killers of the Flower Moon”Roughly two months ago a very early draft of Eric Roth‘s screenplay for Killers of the Flower Moon (dated 2.20.17,...
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Dead-End Insanity of “Nomadland”Frances McDormand‘s Fern was strong but mule-stubborn and at the end of the day self-destructive, and this stunted psychology led...
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Mia Farrow’s Best Performances?Can’t decide which performance is better, although I’ve always leaned toward Tina Vitale, her cynical New Jersey moll behind the...
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Hedren’s 94thTwo days ago (1.19) a Facebook tribute congratulated Tippi Hedren for having reached her 94th year (blow out the candles!)...
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Criminal ProtagonistsA friend suggested a list of the Ten Best American Crime Flicks of the ‘70s. By which he meant films...
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“‘Moby-Dick’ on Horseback”I’ve never been able to give myself over to Sam Peckinpah’s Major Dundee, a 1965 Civil War–era western, and I’ve...
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