The suspense for the plane scene starts way before that. This scene was used for so many film classes just because it's easy to see how Hitch combined a shot list and blocking. Somewhere out there is the storyboard and drawing of the shot list for this scene, pretty cool.
The shots you're describing are pretty common. It's the camera work that wasn't common is what made Hitchcock stand out. Transition shots for this time period had a pretty set mechanics beyond the script, so that the camera guys would know what to shoot, kind of knowing what the editors would need. Not so much for the money shot, but like transitions. Look at movies where characters get out of a car and move to a doorway. They rarely show them with one cam and no cuts, getting out, walking to the door and going in. They always seemed to use close to the same series of medium and long shots with 3 or 4 cuts. This (how to get the actor from the car to the door) kept the story going and saved time - it was predictable for the crew and the editor. Hitchcock's shots weren't predictable like that. Again, in NBNW the scene at the end where the two characters were escaping the airplane, in the car, and get stopped by the locked gate. Just from normal shot standards there should have been 6 or 7 cuts on this scene. Instead, Hitch wasted a lot of time never cutting the actors from the car to the gate, cutting between them to show the approaching bad guys - building suspense, just like the early plane scene. Seems simple now, but other film makers at the time were watching Hitchcock films and going back to the drawing board about how to do things.
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