o the movie, making Fellini a true auteur. The next auteur that I studied was Satyajit Ray. I watched his popular Apu Trilogy, which consists of three films that follow the life of a boy named Apu. Most noteworthy of Ray’s films is their universality. Even though they are filmed in India, anyone can relate to them. The scripts for these movies are very realistic; nothing seems forced or written. In fact, there is not much action in the plot of the first film of the trilogy, Pather Panchali. Also, the look of his films is also very natural. Each frame from these films could literally be a breathtaking still image. I noticed this when watching The World of Apu when the Indian countryside was shown. When one hears the phrase “artistic cinematography” the work of Satyajit Ray should come to mind. He uses a wonderful blend of light and shadow, which I liked the most, in the river-bathing scene in Aparajito. Ray pays a lot of attention to detail. His camera moves with the situation in this story, not with any particular style. His way of shooting, his real life approach, and his natural settings forms the ultimate suspension of disbelief for any person who falls under the spell of a Satyajit Ray picture.The final auteur that I will be covering is the legendary Alfred Hitchcock. The “Master of Suspense,” Hitchcock blends the traditional thriller with comedy and a dreamlike aspect. I watched three of his most popular films: Vertigo, Rear Window, and North by Northwest. Vertigo is a mixture of many diverse elements. Hitchcock makes a love story, a mystery, and a thriller all in one. Obsession, psychological and physical paralysis, and the fragility of romantic love are all dealt with. However as with many of his films, one must see it a few times to catch many of the details and deeper meanings. There are two stylistic notes for Vertigo. First, is the use of color, particularly red and green. Second is the soundtra...
