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Janet Leigh
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- Episodes featuring their films
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Rewatchables episodes featuring Janet Leigh’s films
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Mentioned in discussions
In the discussion (12)
- Tina's opening nightmare: she leaves the house and runs into Freddy, starting with rocks at the window, one stuck in the window, and ending with the bloody ceiling dance; anytime somebody is on a ceiling in a movie, they are not making it.
- The set took about six weeks to build and spun around inverted; everybody was getting sick, and Amanda Wiss found it legitimately terrifying.
- The making-of documentary shows the bathtub built over a pool and tactile effects such as getting him through the bars and the blood coming out of the bed, compared with what Chris Nolan does now and with effects generated on the computer.
- Where other slashers avoid the X rating or lack money for makeup, this opening kill is made the bloodiest, scariest thing, so viewers are terrified it will happen to another kid; Tina talking about the dream and the guy with knife hands is a harbinger.
- A participant who had never seen the movie was impressed and happy for the low-budget team while being scared, likened to still marveling that Jaws built a shark.
- Glenn's room was built upside down with the bed of blood, and they almost electrocuted a cast member when the fake blood got into the floor.
- The classroom scene, another homage to Halloween with the body bag, the no-running hallway and Freddy's green blood and worms, is the first classic Elm Street nod where a character seems awake but is in the dream, as the teacher writes 'I'm going to kill you, bitch'.
- The bathtub scene, called CR's favorite, has Freddy's hand coming up through her legs after she locks the door to take a bath having not slept in three days.
- The marshmallow stairs, which Bob Shea wanted and Craven did not, Freddy jumping through the mirror, Rod hanging himself, and the mom's Fred Kruger story with the glove she saved in the basement follow.
- Glenn's bed turns into the Shining elevator, and the final Home Alone showdown is just a dream before the second ending.
- The pick is by far Tina's death, called one of the great accomplishments in horror movies; the popcorn setup of kids pranking with their radio and lying to their mom is also liked.
- Freddy calling out to Tina after Rod is likened to Scream's opening scene or Janet Leigh in Psycho, and Skeet Ulrich in Scream is called a karaoke, poor man's Johnny Depp homage.
In the discussion (5)
- The movie is in a race against time as digital life changes; it was weirdly prescient about wireless streaming video, while things like Netscape no longer make sense; the first nominees are the Hitchcockian vibe of drawing on 1950s and 1960s Hitchcock for an espionage movie, especially in the Prague sequence, the cat-and-mouse format of the set pieces built on ducking into rooms, masks, disguises and hanging from places rather than buildings falling, and Cruise's performance.
- Casting great actors in supporting roles is argued to hold up: Voight at the right stage of his career to be Phelps, a character from the television series; Manuel Bear (as transcribed), an actress few American filmgoers had seen; Jean Reno coming off Leon the Professional with his dickishness; Ving Rhames, who becomes the only other connecting figure in the series along with Monaghan; Kristen Scott Thomas, Vanessa Redgrave, Emilio Estevez and Henry Zerny (as transcribed), later of Sharp Objects, all lived in and knowing what movie they are in.
- The Prague sequence is bittersweet because two or three movies of the Estevez, Kristen Scott Thomas and Cruise team would be welcome; it is set up like Alien with people who know each other, down to the wife's coffee and the barn in Kiev, and the scene where Cruise and Kristen Scott Thomas make out while tracking the arms dealer shows legitimately good chemistry, if less than Cruise's with Vanessa Redgrave; killing off those movie stars 35 minutes in is called a Hitchcockian twist like Janet Leigh in Psycho.
- Estevez's line about lasagna while showing Cruise the chewing gum explosive is a favorite; red light green light and 'you've never seen me very upset' show Robert Towne style dialogue sprinkled throughout, and the hosts assign roles: Koepp the genius of action plotting, Zalian (as transcribed) the dramatic storyteller, Towne the king of memorable lines, with Tom Cruise movie starring on top.
- De Palma's visual flair under control is the final nominee: the deep-focus shot where Don Lowe (as transcribed) is dressed down by Henry Zirny's (as transcribed) CIA character before being sent to Siberia, a charismatic look unlike same-looking modern blockbusters, stylish and fun where a Villeneuve film never makes you laugh; De Palma's playful visual style is named the pick.
