crush
Hitchcock's 1959 classic was ahead of its time in many ways, but the tense few moments in which suave ad executive Roger Thornhill (played by Cary Grant) is terrorised by a murderous crop-dusting pilot is the film's biggest triumph. It is also one of the most saturated with action sequences in Hollywood history. It's been parodied many times .
The scene begins when Thornhill that is a New Yorker tat happened to be in a caught up in a dangerus case of mistaken identity. He arrives at an isolated date point in rural Indiana to meet the man . he has been mistaken for that man.
We can see him stepping off the bus on to lost highway surrounded on both sides by farmland. The place is beauty in full of bareness,and loneliness.
A slow establishing shot of the area accentuates Thornhill's vulnerability in such strange surroundings. Up until this moment, Thornhill has managed to charm his way out of whatever danger
. In this scene character appear as helpless and exposed as possible.
Thornhill is dressed in a well-tailored suit, waiting alone on the side of the road. He is disorientated and completely defenceless.
Initially he seems not to be worried and this haracter is [portraying somebody who has so far avoided danger.
As Thornhill is checking up the situation, vehicles noisily past him, throwing up clouds of dust in the air.
There's a sense of sinister, and I would give this scene a function of foreshadowing , but nothing much actually happens until a car pulls up and a suited man gets out.
The plane continues to buzz nearby.
Hitchcock uses these eerie sound effects to intensify up the tension . This is a way to show that Thornhill is in imminent danger. Yet we don't know from what .
Then we can hear the line: "That's funny. That plane's dusting crops where there ain't no crops."
Neither Thornhill nor the audience are still quite sure how to feel about the plane, which is getting closer and noisier all the time, and is clearly not doing what
The scene begins when Thornhill that is a New Yorker tat happened to be in a caught up in a dangerus case of mistaken identity. He arrives at an isolated date point in rural Indiana to meet the man . he has been mistaken for that man.
We can see him stepping off the bus on to lost highway surrounded on both sides by farmland. The place is beauty in full of bareness,and loneliness.
A slow establishing shot of the area accentuates Thornhill's vulnerability in such strange surroundings. Up until this moment, Thornhill has managed to charm his way out of whatever danger
. In this scene character appear as helpless and exposed as possible.
Thornhill is dressed in a well-tailored suit, waiting alone on the side of the road. He is disorientated and completely defenceless.
Initially he seems not to be worried and this haracter is [portraying somebody who has so far avoided danger.
As Thornhill is checking up the situation, vehicles noisily past him, throwing up clouds of dust in the air.
There's a sense of sinister, and I would give this scene a function of foreshadowing , but nothing much actually happens until a car pulls up and a suited man gets out.
The plane continues to buzz nearby.
Hitchcock uses these eerie sound effects to intensify up the tension . This is a way to show that Thornhill is in imminent danger. Yet we don't know from what .
Then we can hear the line: "That's funny. That plane's dusting crops where there ain't no crops."
Neither Thornhill nor the audience are still quite sure how to feel about the plane, which is getting closer and noisier all the time, and is clearly not doing what