Then we see images of Philadelphia but they are not all idealised homeless by the river, a decayed shell of a car by a no tipping sign, contrasted against kids in the street. So, we get images of people dancing, over the credits, to the waltz the Merry Widow. In truth there are elements that are likely to be a stretch but there was one direct reference, which we’ll come to, that convinces me that Hitchcock had given this some thought. You see, I read someone else’s piece making the connection and will therefore be making reference through this to Victoria William’s essay Reflecting Dracula (1) and, as the first source references it, James McLaughlin’s essay All in the Family (2) – references at the foot of the article in case you wish to seek them out. Now, truth be told I didn’t sit down to watch Alfred Hitchcock’s 1943 thriller and suddenly said, " Wait a second." Rather, I went in fully looking for tropes and connections to Dracula. The use of genre tropes is a strange thing as it might be deliberate, it might be accidental or unconscious and it could just be a form of pareidolia on behalf of the viewer.
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