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The Power Of Food In Rope And Alfred Hitchcock's The Man Who Knew Too Much And Thomas C. Foster's Nice To Eat With You: Acts Of Communio

1112 words - 5 pages

On the first day of school, finding a spot to sit is often the biggest obstacle one can encounter. You cannot sit with just anyone. It has to be with someone we know, and if not, we ask for their permission because we are technically intruding on their meal. It might seem silly, but it is true. Food is a part of life; essential, and we cannot share a meal with just anyone. Alfred Hitchcock illustrates the intimacy that a meal brings to the plot within his films Rope and The Man Who Knew Too Much. Thomas C. Foster in “Nice to Eat with You: Acts of Communion.” claims that meals are forms of communion that function as catalysts in a storyline to expose relationships among people. He argues ...view middle of the document...

His eyes, for one, are shifted downward in another direction unaligned with that of Brandon’s, who is the complete opposite. Brandon’s gaze remains upward and shoulders back in confidence. A few times, Phillip looks ahead in the direction of the chest, not making any sudden movements and with his eyebrows slanting helplessly in regret, while Brandon looks to the chest with a smile. He is proud of his accomplishment. The murder is his work of “art” that he cannot “hang on the wall” and show off. His work of art was complete with the help of Phillip and although committing murder is not a good thing, Foster asserts that “communion doesn’t need to be holy. Or even decent.” Brandon’s speech reminds Phillip with reassurance that their planned murder will not fall through because they are not like other people. There can be “different outcomes [before, during, or after a meal], but [within] the same logic.” He states, “Neither of us can have fear. That's the difference between us and them. They talk about committing the perfect crime but don't do it. Nobody commits a murder just for... the experiment of committing it. Nobody except us.” By making a distinct difference between them and inferior people, Brandon confirms the bond between each other, and that despite the immoral circumstance, a communion is a communion. Hitchcock’s characters reveal their inner desires and compulsions which are the crucial underlying meanings of these acts of communion. Sometimes the revelation is unconscious, as was for Phillip.
In Hitchcock’s The Man Who Knew Too Much, there is a scene where Ben and Jo go to a restaurant in Marrakech. The evening started out badly with the issues Ben had trying to sit in a comfortable manner. Jo’s movements are graceful and easy as she sits down. In a medium close up shot, we now find the Drayton’s and the McKenna’s sitting in a group, eating dinner together. The shot itself presents communion as there is no back to back awkwardness. All are busily tearing whole roast chickens apart with their bare fingers. Ben is the only one who struggles to with the Arab mannerisms at the table, as well as the...

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