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Sign in with Facebook Other Sign in options. Candice Patton shares highlights of " The Flash " Season 5. In , Alfred Hitchcock and his wife, Alma Reville , are at the top of their creative game as filmmakers amid disquieting insinuations about it being time to retire. To recapture his youth's artistic daring, Alfred decides his next film will adapt the lurid horror novel, Psycho , over everyone's misgivings.
Unfortunately, as Alfred self-finances and labors on this film, Alma finally loses patience with his roving eye and controlling habits with his actresses.
When an ambitious friend lures her to collaborate on a work of their own, the resulting marital tension colors Alfred's work even as the novel's inspiration haunts his dreams. Written by Kenneth Chisholm kchishol rogers. Greetings again from the darkness. John J McLaughlin wrote this "Hitchcock" screenplay based on Stephen Rebello's book "Alfred Hitchcock and the Making of Psycho", which was based on the filming of the Psycho screenplay from Joseph Stefano, which was loosely based on Robert Bloch's book, which was based on the real life crimes of Ed Gein.
It's kind of interesting that Alfred Hitchcock is hot again. His Vertigo recently displaced Citizen Kane as the all-time greatest film. And now, we get this Hollywood production, supposedly based on the master of suspense. I saw supposedly, because this film plays like it was written by the heirs of Alma Reville, Hitch's long time wife and collaborator.
We all knew she worked on his films and contributed ideas, but the film wants you to believe she was the real genius behind the public genius. The movie is entitled "Hitchcock" and is based on the making of "Psycho", but in fact, it's more the story of Alma and her husband. While there is nothing wrong with that story Helen Mirren portrays Alma, and instead of the mousy woman who usually faded into the background, we see a fairly strong and talented woman who goes toe-to-toe with Hitch in her best scene.
Sir Anthony Hopkins dons some facial appliances and a fat suit and does a solid job of capturing the odd, creepy, leering, disturbed, insecure genius we recognize as Alfred Hitchcock. He comes across as louder and more in-motion than what we have previously seen. And while director Sacha Gervasi makes it clear that Hitch is not a "normal" guy, he doesn't dwell too much on the blond fixations.
The emphasis on the skills and importance of Alma would be fine were it not so exaggerated. Especially needless was the storyline of Alma being attracted to screenwriter Whitfield Cook Danny Huston , who wrote "Strangers on a Train" for Hitchcock.
The Hitchcock humor is allowed to shine through and his battles with Paramount Studio head Barney Balaban Richard Portnow and the censorship board Kurtwood Smith are excellent. Hopkins finds the humanity under the fat suit and is especially good in his work with Scarlett Johansson as Janet Leigh and Jessica Biel as Vera Miles.
Though this barely qualifies as a story on the making of Psycho, it was chilling to watch the addition of Bernard Herrmann's iconic score added to the shower scene. In fact, Danny Elfman does a nice job of subtly adding a Herrmann-type score to this film. I'm not sure if the film will play well with real Hitchcock aficionados, but if you can forgive the Alma slant, it's actually quite interesting and entertaining and kind of a sweet film at its core.
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Please reload or try later. Keep track of everything you watch; tell your friends. Full Cast and Crew. The relationship between Alfred Hitchcock and his wife Alma Reville during the filming of Psycho in is explored. McLaughlin screenplay , Stephen Rebello book. Related News The Forgotten: Movies I Want Recent. To see or study. Share this Rating Title: Use the HTML below. You must be a registered user to use the IMDb rating plugin. User Polls Favorite recent title character biopic?
Dude, Where's My Hair! How do you organize your DVD movies collection? Nominated for 1 Oscar. Edit Cast Cast overview, first billed only: Alfred Hitchcock Helen Mirren Alma Reville Scarlett Johansson Janet Leigh Danny Huston Whitfield Cook Toni Collette Lew Wasserman Michael Wincott Ed Gein Jessica Biel Vera Miles James D'Arcy Anthony Perkins Richard Portnow Barney Balaban Kurtwood Smith Geoffrey Shurlock Ralph Macchio Joseph Stefano Kai Lennox Hilton Green Tara Summers Rita Riggs Wallace Langham Edit Storyline In , Alfred Hitchcock and his wife, Alma Reville , are at the top of their creative game as filmmakers amid disquieting insinuations about it being time to retire.
Behind every Psycho is a great woman. Edit Details Official Sites: Official site Official site [Japan]. Edit Did You Know? Trivia A scene from the film The Secret Heart , with Walter Pidgeon and Claudette Colbert, is playing on the television screen when Hitchcock makes a derogatory comment about Cook's work.
Goofs At two occasions we see the famous Bates Mansion in the background, facing the right side of the house, opposite of how it appears in Psycho. Originally the house was constructed with only 2 walls - the left and front facade. Quotes [ first lines ] Henry Gein: It's lucky it didn't reach the house. You know, there's gonna be a lot more jobs at that factory in Milwaukee come June.
I could put in a word. You can't leave us, Henry. She needs us both. Can you stop being a mama's boy for one second? I'm not trying to hurt you, but Jesus, you gotta live your own life sometime. That woman can take care of her own god Well, brother has been killing brother since Cain and Abel, yet even I didn't Crazy Credits After the end credits, there is a brief shot of Anthony Hopkins as Hitchcock standing in silhouette in a large empty movie theatre before walking out of the shot.
This emulates Hitchcock's trademark cameo appearance in most of his films. Connections Featured in Film Frequently Asked Questions Q: Isn't 'Psycho' a Universal movie? Is there a scene after the credits? Was this review helpful to you? Yes No Report this.
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There's one spectacular tracking shot, which swoops through several stories of a hotel and ends on the twitching eyes of the real killer.
Smith' Hitchcock's only screwball comedy, this suspense-free farce is out of character for the filmmaker but not bad, thanks to sparkling leads Carole Lombard and Robert Montgomery. Aptly, the movie is hit or miss, though a supporting performance by Peter Lorre helps a lot. Still, it's kind of a mess. But those are the highlight of this murder mystery, even with stars as lovely as Ingrid Bergman and Gregory Peck to look at. But as "Frenzy" proves, maybe Hitchcock was better when those elements were implicit, not explicit.
There is one great sequence where the killer tries to retrieve his tie clasp from the clutch of a dead victim. There's some hints of lurid sexuality that would soon become taboo in mainstream cinema for the next four decades.
With some hasty reshoots and dubbing over Anny Ondra's Czech-accented English, a sound version of "Blackmail" became the first British talkie. But the silent version was a bigger hit, and it's a better film, with less of the awkwardness of a director and cast struggling to master new technology. In both, the finale involves a rooftop chase at the British Museum, not the last time Hitchcock would stage a climax at a famous landmark.
Montgomery Clift gives an underrated Method performance as an anguished priest who hears a killer's confession and is bound to keep it a secret. Famous for an almost unbearably suspenseful sequence where the bomb is carried aboard a bus, with Hitchcock taunting the audience as to when it might explode.
In retrospect, it's a pretty good spy thriller, but full of ideas Hitchcock executed better elsewhere. Rather, it's a based-in-fact story that stars Henry Fonda as a man wrongly accused of armed robbery and focuses on the procedural details of his case.
The docudrama approach makes the scenario seem more realistic and Kafkaesuqe than in most of Hitchcock's other treatments of the same theme. Wonderfully expressive use of shadows and low-angle shots owe a debt to the German horror films of the period. This is also where Hitchcock started making blink-and-you'll-miss-em cameos in his films.
It lacks the novelty value of the original, though it does introduce Day's signature song, "Que Sera Sera. The ending is a bit of a copout, but you've certainly never seen Grant so crazy-eyed and desperate.
Yeah, horribly sexist and dated, but nonetheless fascinating, as Connery probes the mysteries of Hedren's psyche and the suppressed traumas that have made her who she is. Ray Milland is all elegant menace, as usual, and Grace Kelly is an unexpectedly sympathetic adulteress, but there's something stiff and stifling about the film, which takes place almost entirely in one room. The third dimension can't have added much to a film that's more talk than action.
Stewart's character is a photographer based on Robert Capa who must temporarily use a wheelchair. Out of boredom, he begins observing his neighbours across the courtyard, then becomes convinced that one of them Raymond Burr has murdered his wife.
Stewart eventually manages to convince his policeman buddy Wendell Corey and his girlfriend Kelly. As with Lifeboat and Rope , the principal characters are depicted in confined or cramped quarters, in this case Stewart's studio apartment. Hitchcock uses close-ups of Stewart's face to show his character's reactions, "from the comic voyeurism directed at his neighbours to his helpless terror watching Kelly and Burr in the villain's apartment".
From to , Hitchcock was the host of the television series Alfred Hitchcock Presents. The title-sequence of the show pictured a minimalist caricature of his profile he drew it himself; it is composed of only nine strokes , which his real silhouette then filled.
His introductions always included some sort of wry humour, such as the description of a recent multi-person execution hampered by having only one electric chair , while two are shown with a sign "Two chairs—no waiting!
He directed 18 episodes of the series, which aired from to In the s, a new version of Alfred Hitchcock Presents was produced for television, making use of Hitchcock's original introductions in a colourised form. In Hitchcock became a United States citizen. Grant plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. A thrill-seeking American heiress played by Kelly surmises his true identity and tries to seduce him.
She married Prince Rainier of Monaco in , and ended her film career. They play a couple whose son is kidnapped to prevent them from interfering with an assassination. As in the film, the climax takes place at the Royal Albert Hall , London.
This was the only film of Hitchcock to star Henry Fonda , playing a Stork Club musician mistaken for a liquor store thief, who is arrested and tried for robbery while his wife Vera Miles emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes.
He had wanted Vera Miles to play the lead, but she was pregnant. He told Oriana Fallaci: I hate pregnant women, because then they have children.
In the film, James Stewart plays Scottie, a former police investigator suffering from acrophobia , who develops an obsession with a woman he has been hired to shadow Kim Novak. Scottie's obsession leads to tragedy, and this time Hitchcock does not opt for a happy ending. Some critics, including Donald Spoto and Roger Ebert , agree that Vertigo is the director's most personal and revealing film, dealing with the Pygmalion -like obsessions of a man who crafts a woman into the woman he desires.
Vertigo explores more frankly and at greater length his interest in the relation between sex and death than any other work in his filmography. Vertigo contains a camera technique developed by Irmin Roberts, commonly referred to as a dolly zoom , that has been copied many times by filmmakers.
Hitchcock followed Vertigo with three more successful films, which are also recognised as among his best: North by Northwest , Psycho and The Birds Thornhill at first believes Kendall is helping him, then that she is an enemy agent; he eventually learns that she is working undercover for the CIA. Psycho is arguably Hitchcock's best-known film. He subsequently swapped his rights to Psycho and his TV anthology for , shares of MCA , making him the third largest shareholder and his own boss at Universal, in theory at least, although that did not stop them from interfering with him.
The Beginning , and a colour remake of the original. It took four years to transcribe the tapes and organize the images; it was published as a book in the "hitchbook", as Truffaut called it , and the footage was released as a documentary in It was obvious from his films, Truffaut wrote, that Hitchcock had "given more thought to the potential of his art than any of his colleagues".
He compared the interview to "Oedipus' consultation of the oracle". The film scholar Peter William Evans writes that The Birds and Marnie are regarded as "undisputed masterpieces".
He hired Tippi Hedren to play the lead role. Movies don't have them any more. Grace Kelly was the last. Hedren visits him in Bodega Bay where The Birds was filmed  carrying a pair of lovebirds as a gift. Suddenly waves of birds start gathering, watching, and attacking.
He said it was his most technically challenging film yet, using a combination of trained and mechanical birds against a backdrop of wild ones.
Every shot was sketched in advance. He reportedly isolated her from the rest of the crew, had her followed, whispered obscenities to her, had her handwriting analysed, and had a ramp built from his private office directly into her trailer. Toward the end of the week, to stop the birds flying away from her too soon, one leg of each bird was attached by nylon thread to elastic bands sewn inside her clothes.
She broke down after a bird cut her lower eyelid, and filming was halted on doctor's orders. In June , Grace Kelly announced that she had decided against appearing in Marnie In , describing Hedren's performance as "one of the greatest in the history of cinema", Richard Brody called the film a "story of sexual violence" inflicted on the character played by Hedren: He suffered all his life from furious sexual desire, suffered from the lack of its gratification, suffered from the inability to transform fantasy into reality, and then went ahead and did so virtually, by way of his art.
She applies for a job at Mark Rutland's Connery company in Philadelphia and steals from there too. Earlier she is shown having a panic attack during a thunderstorm and fearing the colour red.
Mark tracks her down and blackmails her into marrying him. She explains that she does not want to be touched, but during the "honeymoon", Mark rapes her. Marnie and Mark discover that Marnie's mother had been a prostitute when Marnie was a child, and that, while the mother was fighting with a client during a thunderstorm—the mother believed the client had tried to molest Marnie—Marnie had killed the client to save her mother.
Cured of her fears when she remembers what happened, she decides to stay with Mark. No longer speaking to her because she had rebuffed him, Hitchcock apparently referred to Hedren throughout as "the girl" rather than by name. He told Robert Burks , the cinematographer, that the camera had to be placed as close as possible to Hedren when he filmed her face.
Failing health reduced Hitchcock's output during the last two decades of his life. Torn Curtain , with Paul Newman and Julie Andrews , precipitated the bitter end of the year collaboration between Hitchcock and composer Bernard Herrmann. Both films received mixed reviews. Hitchcock returned to Britain to make his penultimate film, Frenzy , based on the novel Goodbye Piccadilly, Farewell Leicester Square After two espionage films, the plot marked a return to the murder-thriller genre.
Richard Blaney Jon Finch , a volatile barman with a history of explosive anger, becomes the prime suspect in the investigation into the "Necktie Murders", which are actually committed by his friend Bob Rusk Barry Foster. This time, Hitchcock makes the victim and villain kindreds, rather than opposites as in Strangers on a Train.
In Frenzy , Hitchcock allowed nudity for the first time. Two scenes show naked women, one of whom is being raped and strangled;  Spoto called the latter "one of the most repellent examples of a detailed murder in the history of film".
Both actors, Barbara Leigh-Hunt and Anna Massey , refused to do the scenes, so models were used instead. Many times Hitchcock slipped in subtle hints of improprieties forbidden by censorship until the mids.
Yet McGilligan wrote that Breen and others often realised that Hitchcock was inserting such things and were actually amused, as well as alarmed by Hitchcock's "inescapable inferences". Family Plot was Hitchcock's last film. It relates the escapades of "Madam" Blanche Tyler, played by Barbara Harris , a fraudulent spiritualist, and her taxi-driver lover Bruce Dern , making a living from her phony powers.
Screenwriter Ernest Lehman originally wrote the film with a dark tone but was pushed to a lighter, more comical tone by Hitchcock. Despite preliminary work, it was never filmed.
Hitchcock's health was declining and he was worried about his wife, who had suffered a stroke. Asked by a reporter after the ceremony why it had taken the Queen so long, Hitchcock quipped, "I suppose it was a matter of carelessness.
His last public appearance was on 16 March , when he introduced the next year's winner of the American Film Institute award. His remains were scattered over the Pacific Ocean on 10 May Hitchcock returned several times to cinematic devices such as the audience as voyeur ,  suspense , the wrong man or woman, and the " MacGuffin ," a plot device essential to the characters but irrelevant to the audience. Carroll describes James Mason as an "importer-exporter".
Hitchcock appears briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train Strangers on a Train , walking dogs out of a pet shop The Birds , fixing a neighbour's clock Rear Window , as a shadow Family Plot , sitting at a table in a photograph Dial M for Murder , and missing a bus North by Northwest.
Hitchcock's portrayal of women has been the subject of much scholarly debate. Bidisha wrote in The Guardian in Don't worry, they all get punished in the end. They were icy and remote. They were imprisoned in costumes that subtly combined fashion with fetishism. They mesmerised the men, who often had physical or psychological handicaps. Sooner or later, every Hitchcock woman was humiliated. The victims in The Lodger are all blondes. In The 39 Steps , Madeleine Carroll is put in handcuffs.
Ingrid Bergman , whom Hitchcock directed three times Spellbound , Notorious , and Under Capricorn , is dark blonde. Tippi Hedren , a blonde, appears to be the focus of the attacks in The Birds In Marnie , the title character, again played by Hedren, is a thief. Hitchcock's last blonde heroine was Barbara Harris as a phony psychic turned amateur sleuth in Family Plot , his final film. In the same film, the diamond smuggler played by Karen Black wears a long blonde wig in several scenes.
His films often feature characters struggling in their relationships with their mothers, such as Norman Bates in Psycho. In North by Northwest , Roger Thornhill Cary Grant is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds , the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself from a clinging mother Jessica Tandy. The killer in Frenzy has a loathing of women but idolises his mother.
The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother played by Marion Lorne. Sebastian Claude Rains in Notorious has a clearly conflicting relationship with his mother, who is rightly suspicious of his new bride, Alicia Huberman Ingrid Bergman.
Hitchcock became known for having remarked that "actors are cattle. Smith , Carole Lombard brought three cows onto the set wearing the name tags of Lombard, Robert Montgomery , and Gene Raymond , the stars of the film, to surprise him. Hitchcock believed that actors should concentrate on their performances and leave work on script and character to the directors and screenwriters. He told Bryan Forbes in He said, 'We're taught using improvisation. We are given an idea and then we are turned loose to develop in any way we want to.
Critics observed that, despite his reputation as a man who disliked actors, actors who worked with him often gave brilliant performances. He used the same actors in many of his films; Cary Grant worked with Hitchcock four times,  and Ingrid Bergman three. James Mason said that Hitchcock regarded actors as "animated props". He should be willing to be utilised and wholly integrated into the picture by the director and the camera.
He must allow the camera to determine the proper emphasis and the most effective dramatic highlights. Hitchcock planned his scripts in detail with his writers. In Writing with Hitchcock , Steven DeRosa noted that Hitchcock supervised them through every draft, asking that they tell the story visually. Once the screenplay is finished, I'd just as soon not make the film at all.
All the fun is over. I have a strongly visual mind. I visualize a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score. It's melancholy to shoot a picture. When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 per cent of your original conception. Hitchcock's films were extensively storyboarded to the finest detail.
He was reported to have never even bothered looking through the viewfinder , since he did not need to, although in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternative takes to consider.
After investigating script revisions, notes to other production personnel written by or to Hitchcock, and other production material, Krohn observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned. For example, the celebrated crop-spraying sequence of North by Northwest was not storyboarded at all.
After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film, and Hitchcock in turn hired an artist to match the scenes in detail. Even when storyboards were made, scenes that were shot differed from them significantly. Krohn's analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough to change a film's conception during its production.
Another example Krohn notes is the American remake of The Man Who Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including Strangers on a Train and Topaz. Jefferies, despite spending the entire film in a wheelchair.
This is where modern horror begins. If anything, it appears to be aging in reverse. In fact, it seems like young filmmakers are citing it as a key influence now more than ever.
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In both, the finale involves a rooftop chase at the British Museum, not the last time Hitchcock would stage a climax at a famous landmark. The last great film of Hitchcock's British career. At the time there was a ban on smooches lasting more than three seconds on film. Hitchcock cheekily circumvented that by having Grant and Bergman kiss, nuzzle, kiss again, nuzzle again and so on. HITCHCOCK is a love story about one of the most influential filmmakers of the last century, Alfred Hitchcock and his wife and partner Alma Reville. The film takes place during the making of Hitchcock's seminal movie jti-innovation.comed on: November 22,