Guy believed that he could regain control of the dynamic by tattling on Bruno’s father. Instead, due to Guy’s own nature, he relieves his grasp for control back to Bruno in the physical form of the key and the gun. Now the gun is pointed squarely back at Guy and the audience is being left to wonder if the reversal of the situation will be the end of the protagonist. Bruno in his odd and childish way says that he would not want to upset his mother by killing Guy and lets him walk. Once again the guard dog is standing diligently at the top of the stairs doing nothing as if to confirm it served no real purpose other than to build suspense in its earlier appearance. This scene’s dynamic I found to be very interesting, especially pertaining to the gun. The audience is led to believe that Guy would actually use that gun to kill Bruno’s father, but it was his own character traits that held him back. When the weapon switches hands, we are led to believe that gun might be used to shoot Guy. Bruno points it at him the entire walk to the door, which includes multiple shots of Bruno standing behind Guy with the gun raised and close ups on the firearm. Unlike Guy, Bruno has already killed and we would believe he is willing to again, but one reoccurring trait holds him back as well. The thought of his mother, who he strives to please, prevented …show more content…
Even upon first watch, I wondered what idea I should have taken away from the 5-minute clip. After watching it a few more times, I came to appreciate the unorthodox suspense builders like the guard dog, the gun so often shown but never used, and the camera alignments. It finally hit me that this was the moment that Hitchcock had left his source material and added his own unique spin. In this scene we see the dynamic between our main characters continue to evolve which perfectly sets up for an even more suspenseful finale. On the surface, the clip might have been something built up to be more than it was but in fact this might be the most important turning point in the entire film, both for the plot and for Hitchcock