Description: When Fred Madison finds a video tape on his doorstep that shows the interior of his house, he’s convinced that someone has broken in and calls the police. Things get really complicated when he finds another videotape showing him killing his wife, and the police arrest him because his wife really was murdered! Then he disappears from the prison and we start watching the life of a young man who works in a garage… Read More »
A Scotland Yard undercover detective is on the trail of a saboteur who is part of a plot to set off a bomb in London. But when the detective’s cover is blown, the plot begins to unravel. Read More »
From Channel 4 Film:
Early British Hitchcock which has the future master of suspense trying to make a living with this faithful adaptation of O’Casey’s classic play, chronicling the ups and downs of an Irish family in the Dublin of the 1920s. Most of it is a straight filming of the play – and was acknowledged as such by Hitchcock – even though handsomely photographed and acted. When the action opens up towards the end, Hitch gets a chance to flex his cinematic muscle with a predictably dramatic ending.
Chris Hughes says this:
By 1929 Alfred Hitchcock had established himself as a significant rising star in British cinema. Hitchcock was in the formative stage of his career and though he was gaining new respect with every project, he didn’t yet wield the clout necessary to choose his own scripts, actors and crew. Still, the ‘Hitchcock touch’ was apparent in many of his early films and they bear viewing today as important milestones in a soon to be legendary career. Read More »
The Lodger: A Story of the London Fog (often just called The Lodger) was a 1927 silent film directed by Alfred Hitchcock. It is based on a story of the same name by Marie Adelaide Lowndes about a fictional version of the Jack The Ripper killings. The book itself was allegedly based on an anecdote told to the painter Walter Sickert by his landlady when renting a room; she said that the previous tenant had been Jack the Ripper. This was the third film Hitchcock directed and the first he made a cameo in. It is also the prototypical “Hitchcockian” film.
Despite all the effort that Hitchcock put into the film, producer Michael Balcon was furious with the end result and nearly shelved the film – and Hitchcock’s career as well. After considerable bickering, a compromise was reached and film critic Ivor Montagu was hired to salvage the film. Hitchcock was initially resentful of the intrusion, but Montagu recognized the director’s technical skill and artistry and made only minor suggestions, mostly concerning the title cards and the reshooting of a few minor scenes.
The result, described by Hitchcock scholar Donald Spoto, is “the first time Hitchcock has revealed his psychological attraction to the association between sex and murder, between ecstasy and death.” It would pave the way for his later work. Read More »
One of Hitchcock’s finest films of the ’40s, using its espionage plot about Nazis hiding out in South America as a mere MacGuffin, in order to focus on a perverse, cruel love affair between US agent Grant and alcoholic Bergman, whom he blackmails into providing sexual favours for the German Rains as a means of getting information. Suspense there is, but what really distinguishes the film is the way its smooth, polished surface illuminates a sickening tangle of self-sacrifice, exploitation, suspicion, and emotional dependence. Grant, in fact, is the least sympathetic character in the dark, ever-shifting relationships on view, while Rains, oppressed by a cigar-chewing, possessive mother and deceived by all around him, is treated with great generosity. Less war thriller than black romance, it in fact looks forward to the misanthropic portrait of manipulation in Vertigo. — GA, Time Out Film Guide 13 Read More »
In 1960, Alfred Hitchcock was already famous as the screen’s master of suspense (and perhaps the best-known film director in the world) when he released Psycho and forever changed the shape and tone of the screen thriller. From its first scene, in which an unmarried couple balances pleasure and guilt in a lunchtime liaison in a cheap hotel (hardly a common moment in a major studio film in 1960), Psycho announced that it was taking the audience to places it had never been before, and on that score what followed would hardly disappoint. Marion Crane (Janet Leigh) is unhappy in her job at a Phoenix, Arizona real estate office and frustrated in her romance with hardware store manager Sam Loomis (John Gavin). One afternoon, Marion is given $40,000 in cash to be deposited in the bank. Minutes later, impulse has taken over and Marion takes off with the cash, hoping to leave Phoenix for good and start a new life with her purloined nest egg. 36 hours later, paranoia and exhaustion have started to set in, and Marion decides to stop for the night at the Bates Motel, where nervous but personable innkeeper Norman Bates (Anthony Perkins) cheerfully mentions that she’s the first guest in weeks, before he regales her with curious stories about his mother. There’s hardly a film fan alive who doesn’t know what happens next, but while the shower scene is justifiably the film’s most famous sequence, there are dozens of memorable bits throughout this film. Read More »
NORTH BY NORTHWEST
Since he is a peripatetic operative who loves to beat about the bush while beating about the countryside, director Alfred Hitchcock and a covey of willing and able traveling companions have made North by Northwest, which was unveiled at the Music Hall yesterday, a suspenseful and delightful Cook’s Tour of some of the more photogenic spots in these United States.
Although they are involved in lightning-fast romance and some loose intrigue, it is all done in brisk, genuinely witty, and sophisticated style. With Mr. Hitchcock at the helm, moving North by Northwest is a colorful and exciting route for spies, counterspies, and lovers. Read More »