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Lamb To The Landlady Analysis



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RTL- “Lamb to the Slaughter” by Roald Dahl

Cases in Equity are distinguished from cases at law by the type of remedy, or judicial relief, sought by the plaintiff. Generally, law cases involve a problem that can be solved by the payment of monetary damages. Equity cases involve remedies directed by the court against a party. Types of equitable relief include Injunction , where the court orders a party to do or not to do something; declaratory relief, where the court declares the rights of the two parties to a controversy; and accounting, where the court orders a detailed written statement of money owed, paid, and held. Courts have complete discretion in equity, and weigh equitable principles against the facts of the case to determine whether relief is warranted.

The rules of equity are built on a series of legal maxims, which serve as broad statements of principle, the truth and reasonableness of which are self-evident. The basis of equity is contained in the Maxim "Equity will not suffer an injustice. Laches is one such defense. Laches is based on the legal maxim "Equity aids the vigilant, not those who slumber on their rights.

If the defendant can show disadvantages because for a long time he or she relied on the fact that no lawsuit would be started, then the case should be dismissed in the interests of justice. The law encourages a speedy resolution for every dispute. Cases in law are governed by statutes of limitations , which are laws that determine how long a person has to file a lawsuit before the right to sue expires. Different types of injuries e. Laches is the equitable equivalent of statutes of limitations. However, unlike statutes of limitations, laches leaves it up to the court to determine, based on the unique facts of the case, whether a plaintiff has waited too long to seek relief.

Real estate boundary disputes are resolved in equity and may involve laches. For instance, if a person starts to build a garage that extends beyond the boundary line and into a neighbor's property, and the neighbor immediately files a suit in equity and asks the court to issue an injunction to stop the construction, the neighbor will likely prevail. On the other hand, if the neighbor observes the construction of the garage on her property and does not file suit until the garage is completed, the defendant may plead laches, arguing that the neighbor had ample time to protect her property rights before the construction was completed, and the court may find it unfair to order that the garage be torn down.

The laches defense, like most of equity law, is a general concept containing many variations on the maxim. Phrases used to describe laches include "delay that works to the disadvantage of another," "inexcusable delay coupled with prejudice to the party raising the defense," "failure to assert rights," "lack of diligence," and "neglect or omission to assert a right.

At 20th Century Fox , Hitchcock approached John Steinbeck with an idea for a film, which recorded the experiences of the survivors of a German U-boat attack. Steinbeck began work on the script for what would become Lifeboat However, Steinbeck was unhappy with the film and asked that his name be removed from the credits, to no avail. The idea was rewritten as a short story by Harry Sylvester and published in Collier's in The action sequences were shot in a small boat in the studio water tank. The locale posed problems for Hitchcock's traditional cameo appearance; it was solved by having Hitchcock's image appear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after advertisement for "Reduco-Obesity Slayer".

He told Truffaut in At the time, I was on a strenuous diet, painfully working my way from three hundred to two hundred pounds. So I decided to immortalize my loss and get my bit part by posing for "before" and "after" pictures. I was literally submerged by letters from fat people who wanted to know where and how they could get Reduco. Hitchcock's typical dinner before his weight loss had been a roast chicken, boiled ham, potatoes, bread, vegetables, relishes, salad, dessert, a bottle of wine and some brandy. To lose weight, his diet consisted of black coffee for breakfast and lunch, and steak and salad for dinner, [] but it was hard to maintain; Donald Spoto wrote that his weight fluctuated considerably over the next 40 years.

At the end of , despite the weight loss, the Occidental Insurance Company of Los Angeles refused his application for life insurance. I knew that if I did nothing, I'd regret it for the rest of my life Hitchcock returned to the UK for an extended visit in late and early While there he made two short propaganda films , Bon Voyage and Aventure Malgache , for the Ministry of Information. In June and July , Hitchcock served as "treatment advisor" on a Holocaust documentary that used Allied Forces footage of the liberation of Nazi concentration camps. The film was assembled in London and produced by Sidney Bernstein of the Ministry of Information, who brought Hitchcock a friend of his on board.

It was originally intended to be broadcast to the Germans, but the British government deemed it too traumatic to be shown to a shocked post-war population. Instead, it was transferred in from the British War Office film vaults to London's Imperial War Museum and remained unreleased until , when an edited version was broadcast as an episode of PBS Frontline , under the title the Imperial War Museum had given it: Memory of the Camps. Anthony Edwardes under the treatment of analyst Dr. Peterson Ingrid Bergman , who falls in love with him while trying to unlock his repressed past. For added novelty and impact, the climactic gunshot was hand-coloured red on some copies of the black-and-white film.

The spy film Notorious followed next in His prescient use of uranium as a plot device led to him being briefly placed under surveillance by the Federal Bureau of Investigation. Selznick complained that the notion was "science fiction", only to be confronted by the news of the detonation of two atomic bombs on Hiroshima and Nagasaki in Japan in August Hitchcock formed an independent production company, Transatlantic Pictures , with his friend Sidney Bernstein.

He made two films with Transatlantic, one of which was his first colour film. With Rope , Hitchcock experimented with marshalling suspense in a confined environment, as he had done earlier with Lifeboat. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place. The film features James Stewart in the leading role, and was the first of four films that Stewart made with Hitchcock. It was inspired by the Leopold and Loeb case of the s. Under Capricorn , set in 19th-century Australia, also uses the short-lived technique of long takes, but to a more limited extent.

He again used Technicolor in this production, then returned to black-and-white for several years. Transatlantic Pictures became inactive after the last two films. His thriller Strangers on a Train was based on the novel of the same name by Patricia Highsmith. Hitchcock combined many elements from his preceding films. He approached Dashiell Hammett to write the dialogue, but Raymond Chandler took over, then left over disagreements with the director. In the film, two men casually meet, one of whom speculates on a foolproof method to murder; he suggests that two people, each wishing to do away with someone, should each perform the other's murder. Farley Granger 's role was as the innocent victim of the scheme, while Robert Walker , previously known for "boy-next-door" roles, played the villain.

She kills the hired assassin in self-defence, so Milland manipulates the evidence to make it look like murder. Stewart's character is a photographer called Jeff based on Robert Capa who must temporarily use a wheelchair. Out of boredom, he begins observing his neighbours across the courtyard, then becomes convinced that one of them Raymond Burr has murdered his wife.

Jeff eventually manages to convince his policeman buddy Wendell Corey and his girlfriend Kelly. As with Lifeboat and Rope , the principal characters are depicted in confined or cramped quarters, in this case Stewart's studio apartment. Hitchcock uses close-ups of Stewart's face to show his character's reactions, "from the comic voyeurism directed at his neighbours to his helpless terror watching Kelly and Burr in the villain's apartment". From to , Hitchcock was the host of the television series Alfred Hitchcock Presents. The title-sequence of the show pictured a minimalist caricature of his profile he drew it himself; it is composed of only nine strokes , which his real silhouette then filled.

His introductions always included some sort of wry humour, such as the description of a recent multi-person execution hampered by having only one electric chair , while two are shown with a sign "Two chairs—no waiting! In the s, a new version of Alfred Hitchcock Presents was produced for television, making use of Hitchcock's original introductions in a colourised form. In Hitchcock became a United States citizen. Grant plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. A thrill-seeking American heiress played by Kelly surmises his true identity and tries to seduce him.

They play a couple whose son is kidnapped to prevent them from interfering with an assassination. As in the film, the climax takes place at the Royal Albert Hall. This was the only film of Hitchcock to star Henry Fonda , playing a Stork Club musician mistaken for a liquor store thief, who is arrested and tried for robbery while his wife Vera Miles emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes. While directing episodes for Alfred Hitchcock Presents during the summer of , Hitchcock was admitted to hospital for hernia and gallstones , and had to have his gallbladder removed. Following a successful surgery, he immediately returned to work to prepare for his next project.

He had wanted Vera Miles to play the lead, but she was pregnant. He told Oriana Fallaci : "I was offering her a big part, the chance to become a beautiful sophisticated blonde, a real actress. We'd have spent a heap of dollars on it, and she has the bad taste to get pregnant. I hate pregnant women, because then they have children. In Vertigo , Stewart plays Scottie, a former police investigator suffering from acrophobia , who becomes obsessed with a woman he has been hired to shadow Novak. Scottie's obsession leads to tragedy, and this time Hitchcock did not opt for a happy ending. Some critics, including Donald Spoto and Roger Ebert , agree that Vertigo is the director's most personal and revealing film, dealing with the Pygmalion -like obsessions of a man who moulds a woman into the person he desires.

Vertigo explores more frankly and at greater length his interest in the relation between sex and death, than any other work in his filmography. Vertigo contains a camera technique developed by Irmin Roberts, commonly referred to as a dolly zoom , which has been copied by many filmmakers. After Vertigo , the rest of was a difficult year for Hitchcock. During pre-production of North by Northwest , which was a "slow" and "agonising" process, his wife Alma was diagnosed with cancer. Alma underwent surgery and made a full recovery, but it caused Hitchcock to imagine, for the first time, life without her.

Hitchcock followed up with three more successful films, which are also recognised as among his best: North by Northwest , Psycho and The Birds At first, Thornhill believes Kendall is helping him, but then realises that she is an enemy agent; he later learns that she is working undercover for the CIA. Psycho is arguably Hitchcock's best-known film. He subsequently swapped his rights to Psycho and his TV anthology for , shares of MCA , making him the third largest shareholder and his own boss at Universal, in theory at least, although that did not stop studio interference. It took four years to transcribe the tapes and organise the images; it was published as a book in , which Truffaut nicknamed the "Hitchbook". The audio tapes were used as the basis of a documentary in It was obvious from his films, Truffaut wrote, that Hitchcock had "given more thought to the potential of his art than any of his colleagues".

He compared the interview to "Oedipus' consultation of the oracle". The film scholar Peter William Evans wrote that The Birds and Marnie are regarded as "undisputed masterpieces". He hired Tippi Hedren to play the lead role. Movies don't have them any more. Grace Kelly was the last. Hedren visits him in Bodega Bay where The Birds was filmed [] carrying a pair of lovebirds as a gift. Suddenly waves of birds start gathering, watching, and attacking. The question: "What do the birds want?

He said it was his most technically challenging film, using a combination of trained and mechanical birds against a backdrop of wild ones. Every shot was sketched in advance. He reportedly isolated her from the rest of the crew, had her followed, whispered obscenities to her, had her handwriting analysed, and had a ramp built from his private office directly into her trailer. Toward the end of the week, to stop the birds' flying away from her too soon, one leg of each bird was attached by nylon thread to elastic bands sewn inside her clothes. She broke down after a bird cut her lower eyelid, and filming was halted on doctor's orders.

In June , Grace Kelly announced that she had decided against appearing in Marnie In , describing Hedren's performance as "one of the greatest in the history of cinema", Richard Brody called the film a "story of sexual violence" inflicted on the character played by Hedren: "The film is, to put it simply, sick, and it's so because Hitchcock was sick. He suffered all his life from furious sexual desire, suffered from the lack of its gratification, suffered from the inability to transform fantasy into reality, and then went ahead and did so virtually, by way of his art.

She applies for a job at Mark Rutland's Connery company in Philadelphia and steals from there too. Earlier she is shown having a panic attack during a thunderstorm and fearing the colour red. Mark tracks her down and blackmails her into marrying him. She explains that she does not want to be touched, but during the "honeymoon", Mark rapes her. Marnie and Mark discover that Marnie's mother had been a prostitute when Marnie was a child, and that, while the mother was fighting with a client during a thunderstorm—the mother believed the client had tried to molest Marnie—Marnie had killed the client to save her mother. Cured of her fears when she remembers what happened, she decides to stay with Mark. Hitchcock told cinematographer Robert Burks that the camera had to be placed as close as possible to Hedren when he filmed her face.

Hitchcock reportedly replied: "Evan, when he sticks it in her, I want that camera right on her face! Failing health reduced Hitchcock's output during the last two decades of his life. Biographer Stephen Rebello claimed Universal imposed two films on him, Torn Curtain and Topaz , the latter of which is based on a Leon Uris novel, partly set in Cuba. Torn Curtain , with Paul Newman and Julie Andrews , precipitated the bitter end of the year collaboration between Hitchcock and composer Bernard Herrmann. Hitchcock returned to Britain to make his penultimate film, Frenzy , based on the novel Goodbye Piccadilly, Farewell Leicester Square After two espionage films, the plot marked a return to the murder-thriller genre. Richard Blaney Jon Finch , a volatile barman with a history of explosive anger, becomes the prime suspect in the investigation into the "Necktie Murders", which are actually committed by his friend Bob Rusk Barry Foster.

This time, Hitchcock makes the victim and villain kindreds, rather than opposites as in Strangers on a Train. In Frenzy , Hitchcock allowed nudity for the first time. Two scenes show naked women, one of whom is being raped and strangled; [] Donald Spoto called the latter "one of the most repellent examples of a detailed murder in the history of film". Both actors, Barbara Leigh-Hunt and Anna Massey , refused to do the scenes, so models were used instead. Hitchcock would add subtle hints of improprieties forbidden by censorship until the mids. Yet Patrick McGilligan wrote that Breen and others often realised that Hitchcock was inserting such material and were actually amused, as well as alarmed by Hitchcock's "inescapable inferences".

Family Plot was Hitchcock's last film. It relates the escapades of "Madam" Blanche Tyler, played by Barbara Harris , a fraudulent spiritualist, and her taxi-driver lover Bruce Dern , making a living from her phony powers. Screenwriter Ernest Lehman originally wrote the film, under the working title Deception, with a dark tone but was pushed to a lighter, more comical tone by Hitchcock where it took the name Deceit, then finally, Family Plot. Despite preliminary work, it was never filmed. Hitchcock's health was declining and he was worried about his wife, who had suffered a stroke. Asked by a reporter after the ceremony why it had taken the Queen so long, Hitchcock quipped, "I suppose it was a matter of carelessness.

His last public appearance was on 16 March , when he introduced the next year's winner of the American Film Institute award. His remains were scattered over the Pacific Ocean on 10 May Hitchcock's film production career evolved from small-scale silent films to financially significant sound films. Whilst visual storytelling was pertinent during the silent era, even after the arrival of sound, Hitchcock still relied on visuals in cinema. In Britain, he honed his craft so that by the time he moved to Hollywood, the director had perfected his style and camera techniques. Hitchcock later said that his British work was the "sensation of cinema", whereas the American phase was when his "ideas were fertilised".

Afterward, he discovered Soviet cinema , and Sergei Eisenstein 's and Vsevolod Pudovkin 's theories of montage. Earning the title "Master of Suspense", the director experimented with ways to generate tension in his work. And I play with an audience. I make them gasp and surprise them and shock them. When you have a nightmare, it's awfully vivid if you're dreaming that you're being led to the electric chair. Then you're as happy as can be when you wake up because you're relieved. One of the dramatic reasons for this type of photography is to get it looking so natural that the audience gets involved and believes, for the time being, what's going on up there on the screen. Hitchcock's films, from the silent to the sound era, contained a number of recurring themes that he is famous for.

His films explored audience as a voyeur , notably in Rear Window , Marnie and Psycho. He understood that human beings enjoy voyeuristic activities and made the audience participate in it through the character's actions. In most cases, it is an ordinary, everyday person who finds themselves in a dangerous situation. It's easier for them to identify with him than with a guilty man on the run. According to Robin Wood, Hitchcock had mixed feelings towards homosexuality despite working with gay actors in his career. Moreover, Shadow of a Doubt has a double incest theme through the storyline, expressed implicitly through images. Hitchcock appears briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train Strangers on a Train , walking dogs out of a pet shop The Birds , fixing a neighbour's clock Rear Window , as a shadow Family Plot , sitting at a table in a photograph Dial M for Murder , and riding a bus North by Northwest , To Catch a Thief.

Hitchcock's portrayal of women has been the subject of much scholarly debate. Bidisha wrote in The Guardian in "There's the vamp, the tramp, the snitch, the witch, the slink, the double-crosser and, best of all, the demon mommy. Don't worry, they all get punished in the end. They were icy and remote. They were imprisoned in costumes that subtly combined fashion with fetishism. They mesmerised the men, who often had physical or psychological handicaps. Sooner or later, every Hitchcock woman was humiliated. The victims in The Lodger are all blondes. In The 39 Steps , Madeleine Carroll is put in handcuffs. Tippi Hedren , a blonde, appears to be the focus of the attacks in The Birds. In Marnie , the title character, again played by Hedren, is a thief.

Hitchcock's last blonde heroine was Barbara Harris as a phony psychic turned amateur sleuth in Family Plot , his final film. In the same film, the diamond smuggler played by Karen Black wears a long blonde wig in several scenes. His films often feature characters struggling in their relationships with their mothers, such as Norman Bates in Psycho. In North by Northwest , Roger Thornhill Cary Grant is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds , the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself from a clinging mother Jessica Tandy.

The killer in Frenzy has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother played by Marion Lorne. Sebastian Claude Rains in Notorious has a clearly conflicting relationship with his mother, who is rightly suspicious of his new bride, Alicia Huberman Ingrid Bergman. I told her that my idea of a good actor or good actress is someone who can do nothing very well.

I said, "That's one of the things you've got to learn to have Whether you do little acting, a lot of acting in a given scene. You know exactly where you're going. And these were the first things that she had to know. Emotion comes later and the control of the voice comes later. But, within herself, she had to learn authority first and foremost because out of authority comes timing. Hitchcock became known for having remarked that "actors should be treated like cattle".

Smith , Carole Lombard brought three cows onto the set wearing the name tags of Lombard, Robert Montgomery , and Gene Raymond , the stars of the film, to surprise him. Hitchcock responded by saying that, at one time, he had been accused of calling actors cattle. What I probably said, was that all actors should be treated like cattle In a nice way of course. Hitchcock believed that actors should concentrate on their performances and leave work on script and character to the directors and screenwriters.

He told Bryan Forbes in "I remember discussing with a method actor how he was taught and so forth. He said, 'We're taught using improvisation. We are given an idea and then we are turned loose to develop in any way we want to. That's writing. Recalling their experiences on Lifeboat for Charles Chandler, author of It's Only a Movie: Alfred Hitchcock A Personal Biography, Walter Slezak said that Hitchcock "knew more about how to help an actor than any director I ever worked with", and Hume Cronyn dismissed the idea that Hitchcock was not concerned with his actors as "utterly fallacious", describing at length the process of rehearsing and filming Lifeboat.

Critics observed that, despite his reputation as a man who disliked actors, actors who worked with him often gave brilliant performances. James Mason said that Hitchcock regarded actors as "animated props". He should be willing to be used and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights. Hitchcock planned his scripts in detail with his writers. In Writing with Hitchcock , Steven DeRosa noted that Hitchcock supervised them through every draft, asking that they tell the story visually.

Once the screenplay is finished, I'd just as soon not make the film at all. All the fun is over. I have a strongly visual mind. I visualize a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score. It's melancholy to shoot a picture. When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 per cent of your original conception. Hitchcock's films were extensively storyboarded to the finest detail. He was reported to have never even bothered looking through the viewfinder , since he did not need to, although in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision.

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