Comments on: THE HAUNTING (1963)

By: The Unaffiliated Critic

The Unaffiliated Critic — Thu, 25 Oct 2012 22:53:02 +0000

In reply to David Buchmann. It's been a few years since I've watched Citizen Kane, but as far as I can tell Wise's big takeaways were putting ceilings in shots, and those deep focus lenses. (If I'm remembering correctly, the cinematography on Kane wasn't quite as stark: less black-and-white and more shades of grey? But, as I say, it's been a few years.) And Thorogood? Never. I was Born to Be Bad to the Bone, but even I'm not that cruel.

By: The Unaffiliated Critic

The Unaffiliated Critic — Thu, 25 Oct 2012 22:47:49 +0000

In reply to Pat Harrigan. The Innocents was on my short list—it's actually sitting in a pile on my desk as we speak—but I decided I had to choose between the two: I think they're a little too similar to do back-to-back. I'll save it for the 3rd Annual Marathon. (So N., you have that to look forward to.)

By: David Buchmann

David Buchmann — Thu, 25 Oct 2012 22:27:06 +0000

Very well done. When I watched it for the first time a year or so ago I didn't know Robert Wise worked with Welles. Now I'm trying to remember how shots of Kane's mansion ("Xanadu"?) compare to Hill House -- more cavernous and cold, I think. Didn't pick up on the "Psycho" echoes either. The Marion Crane/Eleanor "Crain" comparison in terms of repression is very interesting -- Marion is a bit of a Theo while Nell is perhaps more of a Norman. And for the love of God, man, I hope you will never take it upon yourself to violate N's innocence with regard to George Thorogood. You've put her through so much pain already.

By: Pat Harrigan

Pat Harrigan — Thu, 25 Oct 2012 19:39:39 +0000

Good review! Will you show her "The Innocents" too? It's a good companion piece.