Chuir eagla fionraĂ cosĂșil le sublimation cruthaitheach. BhĂ an bronntanas sin ag Hitchcock chun aon eagla a athchruthĂș idir siombailĂ a nascann le riteoga fo-chomhfhiosacha agus gan amhras a chuid ceapach. Duine mĂłr le rĂĄ a bhfuil dath mĂłr air. Thar aon rud eile ionas go mbeadh achoimre dĂ©anta aige ar a chuid ealaĂne le hĂ©abhlĂłid phictiĂșrlainne a bhĂ feabhsaithe go teicniĂșil i gcĂłnaĂ ach a raibh tograĂ seiftiĂșla de dhĂth air go fĂłill.
Mar sin fĂ©in, tĂĄimid fĂĄgtha le scannĂĄin neamh-chuimhneĂĄilte luchtaithe le radhairc a dhĂ©anann, go dĂreach mar gheall ar an gceannas sin ar an siombalach i dtreo na n-aislingĂ, na turraing agus an iomarca dĂșinn. Ă na drĂĄmaĂ is mĂł a iarradh ag an am go thrillers avant-garde dĂĄ laethanta. Scripteanna a bailĂodh Ăł ĂșrscĂ©alta mĂłra nĂł a cuireadh ar fĂĄil Ăłna shamhlaĂocht ag cur thar maoil. An iliomad saothar iontach atĂĄ fĂłs bailĂ inniu.
BĂonn chuimhneachĂĄin ann nuair a ScannĂĄnaĂocht Hitchcock, taobh amuigh den radharc bathtub i «SĂceĂłis», a lĂ©irigh domsa fionnachtain na pictiĂșrlainne mar an ealaĂn a shĂĄraĂonn tĂș Ăłn gcoir bheach is suaitĂ. CosĂșil leis an mbean sin, le cosĂșlacht uatha le bean chĂ©ile nach maireann, atĂĄ le feiceĂĄil ag fĂĄnaĂocht le linn cheistiĂș an fhir chĂ©ile a bhfuil amhras faoi. Go dtĂ go ndĂ©anann sĂ© a admhĂĄil. Mar sin fĂ©in, nuair a chuaigh na himscrĂșdaitheoirĂ chun buĂochas a ghabhĂĄil leis an mbean sin as a rĂłl a socraĂodh roimhe seo, thug sĂ dearbhĂș dĂłibh nĂĄr Ă©irigh lĂ©i dul ...
NĂł nuair a ullmhaĂonn an prĂosĂșnach an plean Ă©alaithe leis an ngnĂłthaire, ag aontĂș go gcuirfĂ i gcĂłnra Ă© mar an t-aon bhealach chun Ă©alĂș agus ansin Ă© a scaoileadh saor. Go dtĂ, de bharr na moille, lasann sĂ© cluiche taobh istigh den chĂłnra nuair a chloiseann sĂ© titim na talĂșn agus go bhfaigheann sĂ© amach go bhfuil an gnĂłthaire thuasluaite, a fuair bĂĄs gan choinne, in Ă©ineacht leis.
Laistigh de suibiachtĂșlacht nach fĂ©idir le dea-obair Hitchcock a chuimsiĂș riamh, tĂĄimid chun an rud atĂĄ ann domsa a roghnĂș an chuid is fearr de is fearr de hitchcock. Faigh rĂ©idh le haghaidh rogha a chuirfidh buille ar dâintinn ...
Na 3 ScannĂĄn is Molta Ăł Alfred Hitchcock
Strainséirà ar thraein
AR FĂIL AR AON CHEANN DE NA ARDĂIN SEO:NĂl an choir foirfe ann. Mura ndĂ©anann duine Ă©igin eile Ă© ar do shon, agus sa chĂĄs sin tĂĄ na cĂșiseanna ag dul in olcas agus an chuma ar an alibi foirfe gan a thuilleadh a dhĂ©anamh. NĂ raibh an intinn in ann an t-ĂĄbhar a cheapadh seachas Ă© Patricia Highsmith, luchtaithe mar is eol dĂșinn cheana fĂ©in le stoirmeacha unfathomable. Is Ă© an pointe nĂĄ gur mhĂ©adaigh Hitchcock an togra nĂos mĂł fĂłs.
Ar mhaithe le cĂșlcheadĂș an ĂĄbhair nĂ mĂłr go mbeadh eolas ag duine amhĂĄin den dĂĄ charachtar ar chuid de shaol an duine eile. Mar sin, dâfhĂ©adfadh go mbeadh glacadh tosaigh nĂos mĂł leis an togra chun coireanna a mhalartĂș. Cuireann na comhrĂĄite idir Guy agus Walker lĂ©igear orainn le mothĂș na feall is aisteach. Is cosĂșil dĂșinn an forĂ©igean, an neamhchlaonadh chun beatha a bhaint as sineirgĂocht idir intinn atĂĄ suite ar thairseach na beochana atĂĄ in ann gach rud a dhĂ©anamh.
TĂ©ann Bruno i dteagmhĂĄil le Guy, curadh leadĂłige Ăłg, fear Ăłg a bhfuil eolas aige ar a shaol agus ar a mhĂorĂșiltĂ trĂd an bpreas agus a mholann, gan choinne, dĂșnmharĂș dĂșbailte, ach a mhalartaĂonn na hĂospartaigh chun saoirse Ăł phionĂłs a rĂĄthĂș dĂĄ chĂ©ile. Ar an mbealach seo d'fhĂ©adfadh siad a gcuid fadhbanna faoi seach a rĂ©iteach: chuirfeadh sĂ© faoi chois bean Guy (nach bhfuil ag iarraidh colscaradh a dheonĂș dĂł) agus, mar mhalairt air sin, bheadh ââar Guy athair Bruno a dhĂșnmharĂș ionas go bhfĂ©adfadh sĂ© ĂĄdh mĂłr a fhĂĄil le hoidhreacht agus maireachtĂĄil leis fĂ©in. tĂ©armaĂ.
Fuinneog chĂșl
AR FĂIL AR AON CHEANN DE NA ARDĂIN SEO:Mar an gcĂ©anna Stephen King Dâfhill sĂ© ar shaincheist an tĂ©arnaimh agus luĂ seoil in âMiseryâ mar an ceann is claustrophobic de na cur i lĂĄthair. NĂ tharlaĂonn beagnach aon rud dĂłibh siĂșd atĂĄ ag fanacht le tĂ©arnamh fisiceach. Ach san idirlinn sin nuair a stopann a shaol, is fĂ©idir leis na rudaĂ is mĂł gan choinne tarlĂș mar go n-Ă©irĂonn na hathruithe fĂłcais agus na gnĂ©ithe nach dtugtar faoi deara ina scĂĄthanna beatha a luĂonn i gcĂłnaĂ ach nach dtugtar aird orthu riamh...
Maidir le cruthaitheoir an bhunsmaoinimh ina ghnĂ© cineamatagrafach, mheas Hitchcock go raibh saol daoine eile rĂł-ghnĂĄthamh. DĂrĂonn gach rud ar an meĂĄnchiorcal, ar an normĂĄltacht sna comharsana mionghĂĄire ar mian leo maidin mhaith dĂșinn. Ach mĂĄ stopaimid ar feadh nĂłimĂ©ad is fĂ©idir linn dul i ngleic leis an sĂĄsamh voyeuristic a bhaineann leis an breathnĂłireacht is pearsanta. Agus b'fhĂ©idir go bhfaighidh muid amach nach raibh aon rud chomh "gnĂĄth"...
Cuirtear iallach ar Stewar, grianghrafadĂłir, scĂth a ligean le cos amhĂĄin i gcaitheamh. In ainneoin cuideachta a chailĂn Kelly agus a bhanaltra Ritter, dĂ©anann sĂ© iarracht Ă©alĂș Ăł leamh trĂ bhreathnĂș Ăłna fhuinneog ĂĄrasĂĄn le dĂ©shĂșiligh ar a bhfuil ag tarlĂș sna tithe trasna na srĂĄide. Mar gheall ar shraith cĂșinsĂ aisteach, Ă©irĂonn sĂ© amhrasach faoi chomharsa a bhfuil a bhean imithe.
SĂceĂłis
AR FĂIL AR AON CHEANN DE NA ARDĂIN SEO:An sĂĄrshaothar scĂ©insĂ©ir quintessential. An fasach do na cĂ©adta scannĂĄn ina bhfuil an sĂceapaite is ominous crochta os cionn an phrĂomhcharachtair ar dualgas. NĂ luĂonn ach Hitchcock an smaoineamh Ăł na philias agus na phobias is daonna chun an buile a dhĂ©anamh nĂos inlĂĄimhsithe.
BâfhĂ©idir go bhfuil charm tosaigh ĂĄirithe ag Norman Bates. An fear cineĂĄlta chun ceisteanna a chur ar an tsrĂĄid. Ach ar an gcaoi chĂ©anna a bhfuil Ed Gein, an carachtar iarbhĂr Bates bunaithe air, a chuid ifreann tinte a cheilt Ăł Ăłige trĂĄmacha, nĂ hĂ© Bates an duine is cosĂșil. TĂĄ faitĂos ar a mhĂĄthair scanrĂșil toisc, seachas a simplĂocht, go dtugann sĂ© dĂșinn an spĂĄs labyrinthine sin de eagla, traumas agus ciontacht atavistic.
Scaoiltear gach rud cosĂșil le fuath dĂrithe ar Marion Crane, an taistealaĂ gan choinne a stopann ag motel Bates toisc go bhfuil ĂĄit ar bith go maith di Ă©alĂș i lĂĄr na stoirme. Sin Ă© an fĂĄth go bhfuil mothĂș ĂĄirithe ann go gcrĂochnaĂonn duine a thagann Ăłna ndomhan dorcha fĂ©in i mbĂ©al an mhadaidh. NĂ chuirtear amĂș do dhinnĂ©ar deireanach le Bates. TĂĄ sĂ© ar tĂ bualadh le Norman agus a mhĂĄthair bhocht tinn ...
1 tråcht ar «Na 3 scannån is fearr de Alfred Hitchcock»