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Hitchcock's Kaleidoscope

 
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the night watchman
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PostPosted: 08.09.2004 7:01 pm    Post subject: Hitchcock's Kaleidoscope Reply with quote

After Marnie flopped, Hitch began developing a project with writer Benn Levy, which would be more graphically violent and sexually explicit than any of his previous movies. The movie was initially called Frenzy, but is now ususally refered to by its alternate title Kaleidoscope to avoid confusion, and was apparently inspired by the style of the giallo which was emerging from Italy at the time. A rough draft emerged before the studio shot the project down. Does anyone know if this script ever surfaced on the Web?



Some brief comments about Kaleidoscope's giallo influence can be found here, and more detailed discussion of its origins and early development can be found here.
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HoRRoRFaN
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PostPosted: 08.09.2004 9:22 pm    Post subject: Reply with quote

That's very cool, I did not know that. It would have been awesome to see Hitchcock attempt a giallo!
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the night watchman
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PostPosted: 08.09.2004 9:36 pm    Post subject: Reply with quote

I think so, too. I suspect Kaleidoscope would have been a hit, like Psycho was a hit, and for the same reasons.
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HoRRoRFaN
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PostPosted: 08.10.2004 12:38 am    Post subject: Reply with quote

After reading both of the articles entirely, this project would have been his most daring, maybe even surpassing ROPE's one-shot technique.
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beltmann
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PostPosted: 08.10.2004 12:55 am    Post subject: Reply with quote

Of course, Rope only had the appearance of being a single shot. Takes lasted for an entire 10-minute reel, and cuts were creatively camouflaged, via invisible wipes, etc. Although I adore Rope in terms of story--it's actually one of my favorite Hitchcocks--I've never thought of it as particularly "daring." Reviewers spend an awful lot of time fawning over the long takes, but to me that's rather reductive, a hollow response to a movie that has fairly complex psychological intricacies--if there's anything "daring" about Rope, it's in the way it asks audiences to follow the lead of two young psychopaths and identify with their predicament.



Kaleidoscope, eh? I'm skeptical whether Hitch could have pulled off a giallo-style picture at that stage of his career, but that's a great title, at the very least.



Eric
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HoRRoRFaN
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PostPosted: 08.10.2004 1:50 am    Post subject: Reply with quote

beltmann wrote:
Of course, Rope only had the appearance of being a single shot. Takes lasted for an entire 10-minute reel, and cuts were creatively camouflaged, via invisible wipes, etc. Although I adore Rope in terms of story--it's actually one of my favorite Hitchcocks--I've never thought of it as particularly "daring." Reviewers spend an awful lot of time fawning over the long takes, but to me that's rather reductive, a hollow response to a movie that has fairly complex psychological intricacies--if there's anything "daring" about Rope, it's in the way it asks audiences to follow the lead of two young psychopaths and identify with their predicament.




I know that ROPE had the appearance of being filmed in one shot, and everything that you are saying is dead-on. Even if the technique was disguised to look like it was filmed in one unbroken shot, it was still an original accomplishment at the time, which is what I meant when I say that KALEIDOSCOPE (yes, very cool title) would have been a technically impressive film had Hitchcock completed it, not only with graphic sex or the violence but the way that he would have filmed it, handheld with the cameras only allowing natural light etc. I think that ROPE is probably a great film, an underrated Hitchcock, and its complexity rewards more to me than its technique ever did. Still, it was innovative at the time and I even thought that its distraction -- which bothers some viewers -- works positively because it represents how we are in the presence of the two killers as well as their company. Now I wanna see it again soon to spend time on the lighting and the camera movements (as I remember it, there are mostly zooms that disguise the cuts) and so on. Suspense was built up wonderfully when the camera spies on the characters. IRREVERSIBLE and RUNNING TIME also were filmed with this one-shot technique in mind, and RUSSIAN ARK has to be the only film I've seen that was shot with an unbroken take. Even these films have a lot more to offer other than their technique, I think. ROPE is a fascinating film in a lot of ways, the way that the Leopold and Loeb characters are implied to be homosexual, the black humor scattered throughout, psychological dialogue, and I loved that the James Stewart works on many levels when we evaluate him, it is complex and different. As I said before, Hitch's camera represents us, viewing the film, witnessing the murder in the beginning. Rupert is speaking for us in the end, in his powerful epiphany.
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