Hitchcock may not be fully formed here, but he's certainly chosen the direction he'd spend the rest of his career pointed in. Amazing sense of sound design via visual signifiers (you can hear the lodger's stopping feet when the chandelier swings) and the first 30 minutes are a great example of exciting exposition. Sadly the middle sags and I fall into my typical issue with silent film pacing, and this is never quite as suspenseful as it feels like it should be. Good ending, though.
About 70% of this is among the best cinema you'll ever see, and the other 30 never drops below Very Good. Endlessly imaginative and wistful, as if Radio Days and Holy Motors were the same film. I've gotten a lot of contact Fellini highs from being a Woody Allen fan, but this is the first time I ever really felt the full blast of his genius.
Feels like there's a lot I don't have the context to unpack, but as…
The first hour or so makes up such a perfect anxiety nightmare that it bummed me out when it went a more typical (albeit eventful) route of "her madness is making her KILL!" The Polanski that made me squirm during mundane scenes in Rosemary's Baby purely through the power of his mise-en-scene is multiplied by five here, to the point where it got too much for me and I had to pause the movie to go do chores. Polanski's famous…
The unexpected recipe of eulogy, cute animal videos and surveillance culture dread synthesized into the finest cinematic representation of the act of remembering I have ever experienced.
I don't know nothing about nothing, so it wouldn't surprise me if this is philosophically facile or a misrepresentation of Buddhist beliefs or even Just Plain Dumb, but there is such an emotional immediacy that I never once worried about any of that. I have no spirituality to speak of, no real personal…