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Film Comment (1984) - Hitch's Riddle




It is still the question that divides film aesthetics, separating critics who believe in the expressive power of popular filmmaking from those who see art only in the highbrow asceticism of a Bergman or an Antonioni, separating those who believe that film has its own artistic properties and potentials from those who measure achievement only by older, more established values. When Judy returns from the beauty parlor, her hair now dyed to match Madeleine's, she walks straight toward Scotty-straight toward the camera and us-and it is the first time in the film that a figure has emerged from the depths of the image to come to us, the first time we are met on the surface of the screen rather than drawn into it.