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For example, the newsroom printing of the story in real time lets any reader of English know precisely what he or she has just seen. This particularly reminds me of Lang's use of the same written signals which come organically from the unfolding story such as clocks, wanted posters, etc. Although "M" is a sound film, Lang uses visual cues effectively, the same way Hitchcock does in our clip today. Lang also built suspense in his opening by constantly cutting from Elsie's mother waiting for her to come home from school, to the clock on the wall letting us know how late Elsie is to the wanted poster, to the balloon vendor, and to the faceless man who lures her to her death. I am surprised at how much better at building suspense Lang is in "M" compared with how little suspense Hitchcock engenders in the opening of "The Lodger." Hitchcock's subject matter is also more in line with Noir than Expressionism.

The shaggy-dog story that gave Alfred Hitchcock his pet name for “the thing the spies are after” but that is of no real importance to the audience may have been told to him by Angus MacPhail, an English screenwriter with a very Scottish name. If so, it’s all too apt, since The 39 Steps (1935), the first Hitchcock film to really crank up the MacGuffin as plot motor, is full of Englishmen who sound like Scots and Scots who sound like Englishmen. It also features two traveling salesmen in a train compartment who seem about to break into the MacGuffin sketch at any instant but never quite do . .

The 40s were all about pin curls. Three words describe these curls: loose, bouncy and fabulous. Ladies from this decade loved this hairstyle trend. Relaxed textures were everywhere, and curls were secured with pins. That is the main reason behind the name of this hairdo.


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