The close-up of the violinist that becomes a long shot reverses a similar shot of a twitching drummer in Young and Innocent (1937) (1937).
The key and the wine bottle recall Notorious (1946) (1946).
The shot of the falling man looks like James Stewart's fall from the window in Rear Window (1954) (1954) and especially Norman Lloyd's fall from the Statue of Liberty in Saboteur (1942) (1942); but Reggie Nalder was the one who fell from a balcony in an orchestra hall in The Man Who Knew Too Much (1956) (1956).
The setting of the hall is lifted from the latter film. The shadow on the music sheet is a quotation from it.
The camera that nearly blinds the hero and turns the screen red recalls what happens to the villain in Rear Window.
The main reference point for this film is North by Northwest (1959) (1959). The titles of the film-within-the-film are made to look like Saul Bass's credits. The music score is not a re-creation of Bernard Herrmann's music, but the music itself, artfully edited to follow the action. The characters' names, appearances and roles (hero, villains, heroine, etc.) mirror those of the Hitchcock film. The business card with the initials R.O.T is the same one used by Roger O. Thornhill, the film's protagonist.
The final shot is the reverse of the opening shot in Psycho (1960) (1960).The flocking birds of course recall The Birds (1963) (1963)
The key and the wine bottle recall Notorious (1946) (1946).
The shot of the falling man looks like James Stewart's fall from the window in Rear Window (1954) (1954) and especially Norman Lloyd's fall from the Statue of Liberty in Saboteur (1942) (1942); but Reggie Nalder was the one who fell from a balcony in an orchestra hall in The Man Who Knew Too Much (1956) (1956).
The setting of the hall is lifted from the latter film. The shadow on the music sheet is a quotation from it.
The camera that nearly blinds the hero and turns the screen red recalls what happens to the villain in Rear Window.
The main reference point for this film is North by Northwest (1959) (1959). The titles of the film-within-the-film are made to look like Saul Bass's credits. The music score is not a re-creation of Bernard Herrmann's music, but the music itself, artfully edited to follow the action. The characters' names, appearances and roles (hero, villains, heroine, etc.) mirror those of the Hitchcock film. The business card with the initials R.O.T is the same one used by Roger O. Thornhill, the film's protagonist.
The final shot is the reverse of the opening shot in Psycho (1960) (1960).The flocking birds of course recall The Birds (1963) (1963)
Watch The Key to Reserva (2007) here.
Yes, this "documentary" is a bit of fun from Martin Scorsese. There was no aborted Hitchcock project called The Key to Reserva; and the three pages from the project, that Scorsese keeps in protective folders and handles with gloves, do not exist. This film is a commercial for Freixenet wine.
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