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The device of gradually filling in the central trauma goes back to film noir, I think, and provides the central mysteries in Hitchcock’s , who remarks: There are rules and expectations of each genre, which is nice because you can go in and consciously meet them, or upend them, and we like it either way.Upend our expectations and we love it—though it’s harder—or meet them and we’re cool with it because that’s all we really wanted that night at the movies anyway.

Some of those unfortunates registered their experiences at Roger Ebert’s site.I got so many emails and Web responses, both pro and con, that I began to worry. My opinions have remained unchanged, but that’s not a good reason to write this followup.I found that looking at all three films together taught me new things and let me nuance some earlier ideas. For the record: I never said that I got dizzy or nauseated.The film’s plot consists of a series of steps in the hero’s quest.Each major chunk yields a clue, usually a physical token, that leads to the next step.

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