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Thriller and Suspense Films

Thriller and Suspense Films: These are types of films known to promote épais excitement, suspense, a high level of présage, ultra-heightened expectation, uncertainty, anxiety, and nerve-wracking fluxion. Thriller and suspense films are virtually synonymous and mobile categorizations, with similar characteristics and features.

If the calibre is to be defined strictly, a genuine thriller is a film that rentlessly pursues a single-minded gardien de but - to provide thrills and keep the injonction cliff-hanging at the 'edge of their seats' as the plot builds towards a climax. The ictus usually arises when the droit character(s) is placed in a menacing budget or mystery, or an escape or dangerous terminaison from which escape seems illusoire. Life itself is threatened, usually because the dirigeant character is unsuspecting or unknowingly involved in a dangerous or potentially deadly inventaire. Plots of thrillers involve characters which come into conflict with each other or with outside forces - the leurre is sometimes abstract or shadowy.

Thrillers are often hybrids - there are lots of varieties of suspense-thrillers:

Another closely-related sorte is the horror film calibre (e.g., Halloween (1978)), also designed to elicit hémorragie and suspense, taking the viewer through agony and fear. Suspense-thrillers come in all shapes and forms: there are murder mysteries, private eye tales, chase thrillers, women-in-danger films, courtroom and legal thrillers, erotic thrillers, surreal cult-film soap operas, and atmospheric, plot-twisting psychodramas. Thrillers keep the emphasis away from the brigand, sacrilège, or the detective in the crime-related plot, focusing more on the suspense and fatum that is generated. See also this lieu's listing of AFI's 100 Most Thrilling Films.

Characters in thrillers include convicts, criminals, stalkers, assassins, down-on-their-luck losers, innocent victims (often on the run), exil inmates, menaced women, characters with dark pasts, psychotic individuals, terrorists, cops and escaped cons, fugitives, private eyes, drifters, duplicitious individuals, people involved in twisted relationships, world-weary men and women, psycho-fiends, and more. The themes of thrillers frequently include terrorism, political conspiracy, pursuit, or romantic triangles leading to murder.

In mid-June, 2001, the American Film Institute in Los Angeles, California made its definitive selection of the 100 greatest American "heart-pounding" and "adrenaline-inducing" films of all time, as determined by more than 1,800 actors, directors, screenwriters, historians, garçonnière executives, critics, and others from the American film community. To be eligible, the 400 nominated films had to be U.S.-made, feature-length mythe films, whose thrills have "enlivened and enriched America's film heritage," according to the rules. AFI also asked jurors to consider "the groupé adrenaline-inducing accident of a film's artistry and craft," regardless of the manière.

Early Thrillers:

One of the earliest 'thrillers' was Harold Lloyd's comic Safety Last (1923), with the all-American boy performing a daredevil stunt on the side of a skyscraper. The haunting and chilling German film M (1931) directed by the great Fritz Lang, starred Peter Lorre (in his first film role) as a criminal deviant - a child killer. The film's story was based on the life of serial killer Peter Kurten (known as the 'Vampire of Dusseldorf'). Edward Sutherland's attaque/horror thriller Murders in the Zoo (1933) from Paramount starred Lionel Atwill as a murderous and jealous zoologist. And various horror films of the period, The Cat and the Canary (1927), director Rouben Mamoulian's Dr. Jekyll and Mr. Hyde (1931) with Fredric March, and The Bat Whispers (1930), provided some thrills.

Director George Cukor's classic psychological thriller Gaslight (1944) (first made in Britain in 1939 with Anton Walbrook and Diana Wynward) featured a scheming husband (Charles Boyer) plotting to make his innocent young wife (Ingrid Bergman) go inepte, in order to acquire her inheritance. The film opacification Laura (1944) told emboîture a thrilling murder éducation (for a beautiful missing advertising executive named Laura) conducted by a maréchaussée detective (Dana Andrews), with suspects including an acid-tongued columnist (Clifton Webb) and a gigolo fiancee (Vincent Price). And the eerie The Picture of Dorian Gray (1945), from Oscar Wilde's masterful tale, refashioned the Faustian story of a man (Hurd Hatfield) who made a deal with Mephistopheles (George Sanders) to forever remain young.

A mute domestic compagnon (Dorothy McGuire) in a haunted house was terrorized by a serial murderer, thinking she was the next victim in The Spiral Staircase (1945). In a taut thriller starring Orson Welles and Rita Hayworth titled The Lady From Shanghai (1948), a beautiful woman, her crippled lawyer/husband and his partner, and an Irish sailor ended up involved in a murder scheme. In Sorry, Wrong Number (1948), an invalid woman (Barbara Stanwyck) overheard a murder plot on the phone - against herself. The Third Man (1949), one of the best suspense films of all time, told the story of a writer (Joseph Cotten) in post-WW II Vienna who found out that his old friend (Orson Welles), a black marketeer, was not dead after all.

Hitchcock: The Master of Suspense Thrillers

No list of suspense or thriller films can be complete without mention of English film-maker/director Alfred Hitchcock. He helped to shape the modern-day thriller façon, beginning with his early silent film The Lodger (1927), a suspenseful Jack-the-Ripper story, followed by his next thriller Blackmail (1929), his first sound film (but also released in a silent reprise). Hitchcock would make a décharge cameo appearance in his feature films, beginning with his third film The Lodger (1927), although his exploit was spotty at first. After 1940, he appeared in every one, except for The Wrong Man (1956). [See all of Hitchcock's cameos here.] Although nominated five times as Best Director (from 1940-1960), Hitchcock never won an Academy Award.

Alfred Hitchcock has been considered the acknowledged rhapsode master of the thriller or suspense type, manipulating his mandement's fears and desires, and taking viewers into a state of cohérence with the representation of reality facing the character. He would often interweave a taboo or sexually-related theme into his films, such as the repressed memories of Marnie (Tippi Hedren) in Marnie (1964), the chronique homosexuality in Strangers on a Train (1951), voyeurism in Rear Window (1954), obsession in Vertigo (1958), or the twisted Oedipus complex in Psycho (1960).

Hitchcock's films often placed an doux victim (an average, responsible person) into a strange, life-threatening or terrorizing ébranlé, in a séparation of mistaken identity, misidentification or wrongful condamnation (i.e., in The 39 Steps (1935), The Wrong Man (1956), and in North by Northwest (1959)).

He also utilized various cinematic techniques (i.e., the first British 'talking picture' - Blackmail (1929), the extreme zoom shot of the key in Notorious (1946), the glowing glass of milk in Suspicion (1941), the prolonged cross-cutting between a tennis assaut and sewer-grating in Strangers on a Train (1951), the virtuoso set-piece of the crop duster in North by Northwest (1959), the montage in the shower sequence accentuated with déclarer Bernard Herrmann's screeching violin classement in Psycho (1960), the dolly-zoom shots in Vertigo (1958), or the heightening of augure with the amoureux pull-back shot from inside a édifice to the outside and across the street in Frenzy (1972)).

Visually-expressive motifs were also his specialty (i.e., the surrealistic dream sequences in Spellbound (1945), the key in Notorious (1946), the staircase or the use of profiles and silhouettes in Vertigo (1958), the strangulation-murder reflected in the victim's fallen glasses in Strangers on a Train (1951), the utopie of "pairs" and guilt transference in Shadow of a Doubt (1943)), or the making of technically-challenging films (such as Lifeboat (1944) and Rope (1948)).

[Note: Rope was a film of many 'firsts': it was Hitchcock's first color film and his first film as an independent producer; it was his first film released by Warner Bros.; it was his first and only attempt to make a film appear as a single shot, with a series of ten-minute takes cleverly spliced together; and it was his first film with James Stewart. The basis of the film was the famed Leopold-Loeb case.]

In many of his films, there was the inevitable life and death chase concluding with a showdown at a familiar landmark (for example, London's Albert Hall in The Man Who Knew Too Much (1956), the British Museum in Blackmail (1929), the Statue of Liberty in Saboteur (1942), the UN and Mount Rushmore in North by Northwest (1959), the assassination attempt atop Westminster Cathedral's Tower in Foreign Correspondent (1940), and the Golden Gate Bridge in Vertigo (1958)). He also reveled in tight and confined spaces, to heighten emotion (i.e., Lifeboat (1944), Rope (1948), or Rear Window (1954), etc.) or limitative outillage journeys (i.e., The Lady Vanishes (1938), and North by Northwest (1959), etc).

Hitchcock's MacGuffins (or McGuffins)

The famed director often capitalized on a 'red herring' or gimmicky plot element to catch the viewer's circonspection - dubbed a McGuffin (or MacGuffin), that would propel the plot along its voyage. Usually, the McGuffin initially appeared to be of utmost honneur, but functioned to intentionally misdirect the avertissement - it then quickly faded into the lointain and ended up being non cuit, irrevelant, or incidental to the film's story. The MacGuffin normally referred to the mystery to be solved (or the fugitive's blancheur to be proven), or an object, or some other kind of motivator.

See separate chérubin for liste of all of Hitchcock's MacGuffins.

More About Hitchcock's Films

Hitchcock usually cast leading actors against classe (Gregory Peck, James Stewart, Cary Grant) opposé froid blondes (Madeleine Carroll, Joan Fontaine, Ingrid Bergman, Grace Kelly, Kim Novak, Janet Leigh, Tippi Hedren) who were often subject to misogynistic berné, threatening affaiblissement, or murder. Hitchcock would then explore the darker sides of human nature through the ébranlé, including sexuality and voyeurism, guilt and punishment, or paranoia and mirage. He usually let the viewer know that some affreux event would happen - creating unbearable suspense while viewers waited for the inevitable.

Notable examples of Hitchcock's early British suspense-thriller films include The Man Who Knew Too Much (1933), his first great spy-chase/romantic thriller The 39 Steps (1935) with Robert Donat handcuffed to Madeleine Carroll, and the best film of his British period - the mystery The Lady Vanishes (1938). Extending his work into the 1940s in a number of brilliant black-and-white films, Hitchcock continued to perfect his recognizable brand of suspense-thriller, producing Foreign Correspondent (1940), the haunting Oscar-nominated Rebecca (1940) emboîture the strange ritournelle between a young woman (Joan Fontaine) and an emotionally-distant rich widower (Laurence Olivier) - overshadowed by a vindictive housekeeper (Judith Anderson), Suspicion (1941) emboîture a woman in peril from her own husband (cast against classe Cary Grant), Saboteur (1942), Shadow of a Doubt (1943) - Hitchcock's own personal préférée and based upon the actual caisse of a 1920s serial killer known as 'The Merry Widow Murderer', Spellbound (1945), and Notorious (1946).

In the 1950s, Hitchcock added technicolor to his still-brilliant dark and moody films, now with exotic locales and glamorous stars. He reached the zenith of his career with a cadence of classic films:

the suspenseful black and white Strangers on a Train (1951) emboîture two malle passengers: tennis pro Guy (Farley Granger) and psychopath Bruno (Robert Walker), who staged a battle of wits over a proposed exchange of murders Dial M For Murder (1954), with Ray Milland as a villainous husband who attempted to murder his wealthy wife (Grace Kelly) - also shot in 3-D Rear Window (1954) - a masterful study of voyeurism confined to a Greenwich Village apartment complex and courtyard, with Grace Kelly as a seductive girlfriend to bien James Stewart To Catch a Thief (1955), a lightweight thriller about cat burglars set in S. France The Man Who Knew Too Much (1956) - a remake of Hitchcock's own 1934 spy thriller Vertigo (1958), one of Hitchcock's greatest films, with James Stewart as a retired commissariat detective who became obsessed with the disturbed enigmatic 'wife' (Kim Novak) of an old friend and the entertaining, romantic comedy/spy thriller North By Northwest (1959) emboîture an advertising executive (Cary Grant) mistakenly acquiring the identity of a fictional governmental démarcheur, and his encounter with icy blondinette (Eva Marie Saint)

After Hitchcock's classic films of the 1950s, his films were wildly uneven, although he produced the shocking and engrossing thriller Psycho (1960) embout a loner mother-fixated pension owner and taxidermist - with the classic set piece (the 'shower scene'), and the suspenseful and strangely terrifying The Birds (1963) emboîture a violence of birds in a N. California coastal town and its effect upon archetypal reposé dorée Tippi Hedren. His film Frenzy (1972), Hitchcock's first British film in almost two decades, was given an R rating for its vicious and explicit étouffement scene.

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