Very interesting camera angles (high and low) all over the place; also cutting (Hitchcock regular George Tomasini cut it, though you can bet the Master was well in control) and shot sizes (e.g. encounter with traffic cop is all in close up).
The way Hitchcock does a moving point of view shot is distinctive and exceptional.
Previous viewing 20 October 2012:
The soundtrack I did buy.
Janet Leigh's face in the car in the night scenes is unforgettable.
The flash cut of Martin Balsam at the shop door is really incredible and well ahead of its time.
Hand washing = L'Argent.
That ending, though!
Also watched on 30 October 2011:
More of a film than you remember.
Cheap TV production bounced along by Herrmann.
And on 16 October 2010:
Herrmann's black and white score.
Scorsese loves scene with Martin Balsam in phone box.
POV. Reaction. POV. Reaction. Like no one else.
Film firsts: bra? (I don't think it was actually). Loo!
The lighting's ugly. Why didn't Burks shoot it?
And on 7 February 2010!
Leigh / Perkins: did either of their careers recover?
Is it a film of 'shattering modernity'? (The Times obituary 1980.)
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