jeśli twoje dziecko najbardziej na świecie kocha filmy, a ty najbardziej na świecie kochasz swoje dziecko, to kup mu cinema speculation - w świątyni, rozdział 09:

Hitchcock went in for big suspense set pieces, which he usually accomplished through cinematic virtuosity or daring surprises in the narrative. And Hitchcock either pulled them off . . . (the merry-go-round sequence in Strangers on a Train, Marion Crane’s murder in Psycho, the difficult murder of the KGB agent by Paul Newman and the farmer’s wife in Torn Curtain, The Birds in the playground) . . . or he didn’t . . . (the Mount Rushmore climax of North by Northwest, the rushed rooftop climax at the end of To Catch a Thief, the degrading handling of Anna Massey’s dead corpse in the “potato sack scene” in Frenzy).