The elasticity of time is best appreciated when we are the spectators of a performance, be it a film, a play, a concert or a lecture. The actual duration of the performance and its mental duration are different things. To illustrate the factors that contribute to this varied experience of time, I cannot think of a better example than Alfred Hitchcock’s 1948 film Rope, a technically remarkable work that was shot in continuous, unedited 10-minute takes.
With Frenzy, its director, Alfred Hitchcock, is said to have returned to form, but to what form has he returned? To a resounding orchestral accompaniment, so different from the anxiety-producing music with which Bernard Herrmann contributed so much to Vertigo and Psycho, we move from a panoramic view of the city of London to a Thames-side gathering at which a politician’s speech about progress against the river’s pollution is interrupted by the discovery of a floating corpse.
Eyes Wide Shut (1999), capolavoro postumo di Stanley Kubrick, condivide con Vertigo (1958), di Alfred Hitchcock, non solo le linee tematiche di sviluppo, ma anche quelle linguistiche e strutturali.
Oriana Fallaci interviewed Alfred Hitchcock in 1963 when his movie The Birds screened in Cannes