Sunday, October 6, 2013

Shadow of A Doubt: Ten Frames

1. The first two shots of the film are of these two contrasting bridges, setting up the contrast between Young and Uncle Charlie.

2. In bed after his arrival, Uncle Charlie blows a smoke ring. As he does, we hear a train-whistle, hearkening back to his train's arrival and picking up on the foreshadowing of evil that was the train's black smoke.

3. Uncle Charlie's hands.

4. Uncle Charlie looks down at his pursuers as enemies earlier on, and then looks out at Little Charlie the same way after their falling out.

5. As Charlie and her uncle discuss their situation, father and his friend walk through talking about the same case without a clue.

6. Even in front of the police officer, Uncle Charlie has nothing to fear.

7. When Uncle Charlie pulls his niece into a seedy bar to explain things to her and try to win her over, their waitress turns out to be a friend of hers from school. She's miserable and talks about bouncing around among awful waitressing jobs. Her situation in life and the frame are the potential bridge and temptation to move from Young Charlie's rosy view of the world to her uncle's wretched one, a transition of which he hopes to persuade her.

8. Uncle Charlie: You see them in the best hotels every day by the thousands, drinking the money, eating the money, losing the money at bridge, playing all day and all night, smelling of money. Proud of their jewelry, but of nothing else. Horrible, faded, fat, greedy women.

Little Charlie: But they're alive! They're human beings.

Uncle Charlie: Are they? Are they, Charlie?

9. We only get a few shots of Mrs. Potter, one at the very beginning and another at the very end. This one just before the end misdirects us with Uncle Charlie's hands while his eyes are on the widow.


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