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The theme of doubles is "the key element in the film's structure," [47] and Hitchcock starts right off in his title sequence making this point: there are two taxicabs, two redcaps, two pairs of feet, two sets of train rails that cross twice. Once on the train, Bruno orders a pair of double drinks—"The only kind of doubles I play", he says ...
Studio publicity photo of Hitchcock in 1955. Alfred Hitchcock (1899–1980) [1] was an English director and filmmaker. Popularly known as the "Master of Suspense" for his use of innovative film techniques in thrillers, [1] [2] Hitchcock started his career in the British film industry as a title designer and art director for a number of silent films during the early 1920s.
Divorced mom Tracy Cross (Hawn) raises her 12-year-old son, Christopher (Arnott), in Key West in 1969 around the time of the Apollo 11 Moon landing. Chris narrates the film in voice-over and talks about his "screwed up" life living with his mother in a cheap hotel.
Criss Cross is a 1949 American film noir crime tragedy film starring Burt Lancaster, Yvonne De Carlo and Dan Duryea, directed by Robert Siodmak and written by Daniel Fuchs based on Don Tracy's 1934 novel of the same name. [2] This black-and-white film was shot partly on location in the Bunker Hill section of Los Angeles.
The film is based on the novel Criss Cross by Don Tracy, and is a remake of the original 1949 film adapted from the novel by Daniel Fuchs. The plot revolves around many themes common to film noir , including romantic intrigue, a botched crime, and a surprise ending .
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Aside from early experiments like Young and Innocent and Notorious, the most famous early example of a film that extensively uses long takes is the 1948 Rope, which was shot in mainly seven-to-ten–minute continuous takes (the physical limit of film stock at the time) that appear as four long takes of around 15 to 20 minutes each, close to the ...
Criss Cross (1949), with Lancaster again the lead, exemplifies how Siodmak brought the virtues of the B-movie to the A noir. In addition to the relatively looser constraints on character and message at lower budgets, the nature of B production lent itself to the noir style for economic reasons: dim lighting saved on electricity and helped cloak ...
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