Robin Wood

So in some ways, I suppose, he approved of what was done with it.

I was reading over the weekend a couple of articles on Franjou by Robin Wood.

These were both written of the American magazine Film Comment.

The longer of the two articles is called Terrible Buildings.

So that sort of... enclosure, if you like, of constantly going around in circles rather than being able to break out, is one of the dominant visual motifs of the movie.

Go on, go on.

No, well, I must tell you, though, again, the second piece by Robin Wood that I have read, which is very short, it's just half a page, is entitled The Most Erotic Moment in the History of the Cinema.

And the moment is from this film.

I read books.

I didn't read Hitchcock Truffaut, but I read the Robin Wood...

It reads like a dissertation on why Hitchcock needed to be taken seriously or more seriously than he was.

Robin Wood was a film theoretician who was pivotal in the kind of transformation of the mindset that Alfred Hitchcock was a technical genius, a wizard.

But he was not seen as being on par with the Orson Welles and the, if you want to say, the Jean Renoir and the Akira Kurosawa's and Yasujiro Ozu's, the masters from around the world.

You want to throw F.W. Murnau in there, Eisenstein, Robin Woods.

Writings on Hitchcock made people see that there was more going on Hitchcock did not just make fun thrillers This was a guy who was making very deep very serious very personal in many cases and very adult very grown-up movies with extremely Twisted and disturbing themes often lurking just below the surface just outside the narrative you You had to look for it in movies like Vertigo.

A lot of it is overt, but in films like Rear Window, it's a little quieter.