Anyone miss this LONG continuous dolly shot in the first flashback?
During the first flashback, when Richard Todd enters Marlene Dietrich's house (#78) to get her a blue dress because hers is stained, you see him outside the flat (apartment), approach the door, open the door, enter the flat and walk inside. After he closes the door (which is only implied), this front door wall just simply disappears and the sounds of the street vanish and you suddenly feel the calm of the interior.
The camera follows him in without a film cut, the camera shot bends as he proceeds up the stairs and until he reaches a room upstairs and enters it, there is no cut.
Wonderfully, masterfully done.
If you didn't know this was a movie, you wouldn't realize how wonderful this transition was.
Enrique Sanchez