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100 Years Ago Today... The coolest baby boy was born... His name was Hitchcock...
Good Evening,
Today I have a story about a curious ol fellow. No, I can't introduce you to him.
You see. He's dead.
He may have introduced you to Mt Rushmore or the Statue Of Liberty. From his
mouth you might have first heard and understood the word, "Murrrrder."
Some said this strange fellow had his belly button removed so he would no longer
think of his mother.
Oh yes. Mother. He changed the way that word affected us as well.
Can you walk by a gathered flock of Birds and not think of screaming
children?
When you are sick, and a loved one brings you a glass of warm tea or coffee. Do
you wonder why you are sick?
When you haven't seen that old lady next door for a couple of days, do you think she
is dead? I do.
Alfred Hitchcock. A strange man. Strange because he liked to hear his audience
shriek. He loved to quicken somebody's pulse. He adored phobias and the macabre...
And now.. so do I.
Is there a director I love more? No. Hitchcock knew what made me tick. Not just
me, but just about every soul on this planet. He knew how to fool us. How to scare us.
And he knew how to get us to watch.
He wasn't a mere director, he was a presence. By that I mean this...
You were constantly aware that Hitchcock not only made the movie, but was
standing... just out of sight behind you with a cattleprod hidden in the shadows of the
auditorium waiting to.... GET YOU.
There are few immortals on this planet. People that simply will continue to exist
after their bodies are degraded into dust. I believe of all directors... Alfred will always
stand the test of time. His films are not stale in the least. Take THE THIRTY-NINE
STEPS for example.
Sixty-Four years ago THE THIRTY-NINE STEPS was released. Earlier this year I
introduced the film to quite a few people in my backyard on 16 mm under the night sky.
The film began at 1:30am. Many people had to go to work that following morning, but
none left their seat.
Well before we audience members were asked to ponder “What is the Matrix” we
were pondering, “What are the Thirty-Nine Steps?” 64 years from now will we care about
What the Matrix is? I don’t know, but I do believe ears will be attuned to the last reel of
Hitch’s classic. The verbal dueling between Robert Donat and Madeleine Carroll is
tremendous. I really care for these characters.
To this day I’m freaked out by people with part of that one finger missing. And
thankfully I don’t run into them everyday... But when I do, I knock em over the head and
run for the Train.
Oh yeah... Trains. Alfred gave us a wonderful sense of dread about striking up a
conversation with a stranger on public transportation. Everytime a reader of the site that
I’ve never met before comes up to punch me in the face for something I have written, I
bow my head and say a brief prayer that they not be a Bruno Antony. A My Murder for
Your Murder stranger. Criss cross you see.
He’s a filmmaker so insidious that it is nearly impossible to make a thriller and not
have someone somewhere tell you that Hitchcock did it better.
Why is that?
Well, because Hitchcock focused himself as a filmmaker. He was constantly honing
his skills to a razor’s edge. He found the type of film he loved and he made them. And he
didn’t feel repetitive. He didn’t feel like he was recycling ideas constantly. Far from it.
The world of suspense was so rich to him that he scarcely felt the need to mine outside of
it.
Whereas today’s filmmakers are scatterminded. When they become a director they
never really want to declare a major. Instead they wander about trying survey coarse and
survey coarse. Never truly settling down with an actor. Never really finding a genre
niche.
Nowadays, we’ll find exploitation directors at work on serious historical dramas,
comedic directors working on Horror films, Horror film directors working on Violin
movies, action directors working on sweeping melodramatic romances, fantasists working
abandonment films. Romance directors working on children’s films... and so on.
But Hitch, with a few exceptions, stayed on track. He invented rules of visual
story-telling that every filmmaker working today uses.
He didn’t learn storytelling from film, but rather from books, magazines and
newspapers. Alfred worked with writers like Raymond Chandler, Ernest Lehman, Angus
MacPhail, Ben Hecht, Hume Cronyn (yeah him), Charles Bennett and many others.
I was once lucky enough to meet one of these men, and had the pleasure of speaking
briefly with him about Hitchcock. It was Ernest Lehman. When he spoke of Hitch, his
eyes lit up. Their work together on NORTH BY NORTHWEST was astonishing to me.
It is one of my favorite of his films, but according to Ernest on that day in Hogg
Auditorium here in Austin, the film started off on shaky ground. There was some sort of
pressure to begin shooting before the regular Hitchcock preparations were done. He was
writing the script as Hitch was shooting. One day... Ernest related that he had managed to
get Roger Thornhill to the tourist center at the base of Mount Rushmore, but he didn’t
have a clue why the film wasn’t ending there. Why did he have to be on Mt Rushmore at
the end and how was he supposed to get him up there.
Apparently, he was hit with the most viscous case of writer’s block he’d ever been
faced with. He was beside himself, he stared at the blank page for days and days. And
finally Hitch came to him wondering where his script pages were. What the hold up was.
And Ernest swallowed his pride and told Alfred.
Alfred sat there. Stared at him for a few seconds and allegedly said, “Just shoot
him.” And then... Right then. That wall crashed down around Lehman as the simple
brilliance of it allowed him to rush through the rest of the script. Get Roger up on them
faces and the rest is history.
I remember when Hitchcock died. My parents and all their friends came up into the
upstairs of my house on Red River here in Austin. A sheet dropped from the ceiling and
we watched Hitchcock on 16mm till dawn. I laid with my feet at the base of the screen
and staring up at a quite ridiculous angle... And I was afraid with a smile on my
face.
That’s what Hitchcock did for me. Fear with a smile. He made you feel delighted
that you were afraid. You could hear him laughing at you with every start and twitch he
gave you. And thank goodness he did. I’ve spent countless hours before his work.
My favorites? SHADOW OF A DOUBT, ROPE, REAR WINDOW,
NOTORIOUS, STRANGERS ON A TRAIN, THE WRONG MAN, SUSPICION,
SPELLBOUND, NORTH BY NORTHWEST, THE THIRTY NINE STEPS, THE
LADY VANISHES and THE TROUBLE WITH (me).
Strangely, I’ve never been particularly fond of either PSYCHO or VERTIGO. I
believe this to be a psychological rebellion against the establishment for naming those his
best, but... While I feel they are brilliant, they don’t leave me with a smile. At the end of
both of them I am very much disturbed. They worked their spell upon me... But the
others I mentioned... Well, I just enjoy them more.
Go out and watch a Hitchcock film tonight. Go to your local video store and rent
the ones you haven’t seen. Let him surprise you today. Don’t you need a surprise?
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happy birthday, alfred. with a smile on my face.
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Thanks Harry for taking the time to write about Hitch.
I have taped a few Hitch movies this week, when the weekend comes, I will be watching the movies I haven't seen.
For me, Rope introduced me to Hitch's mind, I was in awe, I couldn't believe he made this film back then.
Thank you -
I don't know why everyone forgets about Rebecca. This one features intrigue, mystery, romance and everything else you would expect from Hitch. It was the only Hitch film to win Best Picture at the Oscars. Just my two cents, but I think this one is underrated.
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One of my favorites is Shadow of a Doubt, Uncle Charlie is ont the nicest scariest serial killers and the momemts when he just turns to his neice and declares that the widdowers need to die is just classic cinema Rear window is another personal fav..
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"Notorious" is still one of the sexiest movies ever made -- and this from a director that NO ONE associates with romance in any form! And it's got that famous Hitchcock perversity, where in the end you feel more sorry for the villain (Claude Rains, who is the only person acting from sincere motives throughout the story) than the heroes!
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I nearly forgot Rebecca, now that was excellent.
Many Hitch movies deserved awards.
Oscars mean nothing to me, they are a pointless exercise.
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http://www.universalstudios.com/
If you're really into the work of Hitchcock, join with me, hit the address above and tell the folks at Universal Home Video that the public, indeed, wants to see the original 'Rear Window', preferrably on widescreen DVD. Perhaps, with a little push, they'll get the hint. -
It's great that Hitch worked in the suspense genre for pretty much his entire career; he gave us lots of wonderful films. But I think Harry's wrong to suggest that today's filmmakers need to stop taking "survey coarse after survey coarse" (I wish he would spell check!) and "declare a major." Should Spielberg have passed up "Empire of the Sun" and "Color Purple" and "E.T." and "Schindler's List" because they were not popcorn movies like "Jaws" or "Raiders"?!! Should Stephen King have left "The Body" and "The Green Mile" and "The Eyes of the Dragon" and his New Yorker essay "Head Down" unpublished because they weren't of the same ilk as "The Shining" and "It"?!! If an artist wants to stay in the same genre for 40+ years, fine. But it's equally valid that someone might want to try new things. It's called GROWTH, dude.
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I thought I'd read this somewhere a few months ago, but haven't heard anything since? Anyone know anything about this?
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Aug 13, 1999 7:55:46 AM CDT
Happy Birthday Alfred, your card with 10 dollars inside is in th
by spike lee
I dont think we will be celebrating the 100th anniversary of Brian DePalma's birthday.
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Spielberg makes films to cash in at the box office or to win oscars. He has never made a controversial film---Schindler's List was only shocking because HE made it. If Scorcese or Stone had filmed it--no one would blink twice about it. But the Schindler story was straightforward..good v.s. evil, etc. Same with Amistad---if the slave ship crew that was slaughtered had been Americans you can bet Spielberg wouldnt have gone near the property.
But take a film like Hitchcock's Marnie--now there is a work of an artist. The theme of that movie transcended anything Spielberg has ever done--or could hope to do. Hitchcock worked in the suspense genre but he took pride in it(up until Family Plot I guess).
Hitchcock did challenge the times with his movies--either he was a sicko or a genius--but that's what great art is all about. -
Aug 13, 1999 9:02:33 AM CDT
Spielberg, Fincher,Mann, the Scotts, McTiernan ,Kubrick and Luca
by bigbudget
There I said, Hitchcock has skill, but not like the big eight.
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dude, if you honestly think that steven spielberg, david fincher, michael mann, the scott brothers, john mctiernan, stanley kubrick and george lucas are better, think again. it's just your own opinion, but you're saying it like you think it's fact. in my opinion, spielberg and kubrick are the closest you can get, and possibly kurosawa who you somehow forgot to mention. but even they probably do not/did not have the skills of hitchcock. fincher and mann both have a very unique visual style, but they're no hitchcocks. ridley scott's also got style, but he's no hitchcock either. tony scott? nope. his enemy of the state was like the homeless man's north by northwest. and george lucas? i love what he's done for the fx business and all with ILM and the star wars films, but saying he's a better director than hitchcock is just wrong. the only mainstream films he's directed are star wars I and IV and American Graffiti, and possibly THX1138, but i never even thought he was a very good director. he was a good producer, but he's no hitchcock! there...i think i got everything outta myself.
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What Hitch did for TV. I love "Alfred Hithcock Presents."
*mental note* I gotta get TV Land just so I can see it every night. As far as his films go, I can't really choose but if i HAD to, I'd have to go with PSYCHO, VERTIGO, & ROPE as my favorites. Both VERTIGO and ROPE because of Jimmy as much as Hitchcock. PSYCHO, just because, well it's brilliant. Who else would kill their main character halfway through the movie? PSYCHO is one of those movies that everyone thinks they've seen because of the shower scene. That's one of the most famous screen moments of all time. But most people who haven't seen it think the shower scene comes at the end. When you see the movie in full, you're totally blown away. I read the "Sight & Sound" issue ranking Hitch's films. They asked all these famous directors what their favorite scene from a Hitchcock movie was. For me, I have two. The first is the beginning of ROPE. BAM! Right off the bat we start with a strangulation. Talk about a mood setter. But my all time favorite scene is when Norman runs screaming into the bathroom after Marion is murdered. "MOTHER, OH GOD! MOTHER!" -
I won't argue with Spielberg and Lucas, not because I think they are superior to Hitch, but because it is comparing apples to oranges. Kubrick was somewhat of a contemporary of Hitch. But the other five, while talented in their own respects, are in no way better than Hitchcock. I like Fincher the best out of the group, and I remember EW review of the Game, where they coined North by Northwest the first of the modern action movies, which every other since has in some way borrowed from. For the Game they were referring to the every man put in extraordinary circumstances.
You know one film that I never see mentioned is To Catch a Thief. While in substance it is lighter than the others everyone always lists, it is a joy to watch, and the chemistry between Cary Grant and Grace Kelly is second to none. -
Yes, To Catch a Thief was good. I enjoyed it. My favourite Hitch movie is Strangers on a Train (uncut version). It was freaky and funny. Robert Walker played one of the creepiest guys I've ever seen.
I'm going to watch Rope this weekend and I Confess. -
Hitchcock's movies are favorites of both me and my wife. I haven't taken in 39 Steps, Saboteur, or the Wrong Man yet, but I sure will next week.
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At the AFI Lifetime achivment awards saluting Alfred Hitchcock, Francios Truffuat stood at the podium and said "In America you call this man Hitch." "In France, we call him Monsiuer Hitchcock." "You respect him because he shoots scence of love as if they were scences murder." "We respect him because he shoots scence of murder like scences of love."
Can't say it any better than that. -
I agree with you Harry, about Psycho not being a favorite. The reason? The ending sucks! Why do they have a psychiatrist sit there explaining it all to us? Talk about unneccesary! After you've seen it once, just stop the movie before that final useless scene. It's a big improvement. My guess is that the studios made Hitch put that lame explanation on the end.
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To the poster above who claimed Hitch never directed a bad film -- we don't like to talk about them much, but I'm afraid he did. Such things as "The Paradine Case," in which he was overruled in most decisions by producer David O. Selznick, and such gems as "Under Capricorn," "Jamaica Inn," or his bloated '60s spy epics, "Topaz" and "Torn Curtain" (both of which have their moments, but are far inferior to his other work). You don't make as many movies as Hitch did without a COUPLE of clunkers slipping in there. His reputation is untarnished, however. And as for the person who claimed Hitchcock is inferior to "the big 8": I know it's difficult, but just TRY to consider that films WERE being made before 1995, okay? Spielberg and Lucas's reputations at this point are pretty much guaranteed, but to compare directors working today who have maybe two or three successful movies under their belt, with a man who directed 53 movies (at least 30 of which are undisputed classics) over a period of some 50 years, is really just stupid. In another 50 years, if anyone has still heard of McTiernan or Michael Bay (and I'm not saying they won't have), call me. Otherwise, don't be such an idiot.
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Great post above from Eternal. Many people here have been raised on Spielberg movies and they have been thoroughly entertained. But to say (BigBudget, I think it was) he's greater or better than Hitch is ridiculous. Spielberg thinks in pictures but Hitchcock thought in stories turned into movies. Lately, Steven has been venturing into 'deeper' fare that have garnered him praise throughout the industry, but Eternal was on to something here. He's making movies that really have no conflict to them. He takes no chances. "Saving Private Ryan" -- War is hell. Um, yes, it is. "Amistad" -- slavery is bad. Right again! Lesse, oh, "Schindler's List" -- The Holocaust was evil. Nail on the head, Stevo! Hitchcock challenged his audiences, invented unique movies, literally dramatized stories with a camera (no big Dino special effects.) Apple and Oranges, indeed...
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PSYCHO is in my all-time top ten, not only because Hitchcock captured in black and white the high desert creepiness of my native California, but also because Bernard Hermann's all- strings score is just one of the finest motion picture soundtracks extant. Listen to the full score, not just the shower attack theme. It's superb Age of Anxiety music, just right for the mid-century as our penchant for horror turned from the political to the personal. I'll also never forget the still-staggering gas station fire from THE BIRDS--a movie that scared me senseless when I was a little girl in the early '60s. And LIFEBOAT! What a tremendous drama! Does anyone remember how Hitch managed to pull off his trademark cameo in that film, which took place on a lifeboat lost at sea?
I worked at Universal for 10 years. One thing I've always appreciated about Sid Sheinberg and Lew Wasserman--they were devoted to Hitchcock during his life and to his memory after he passed on. They named the studio theater The Hitchcock and preserved his bungalow. They even kept his devoted secretary, Suzanne Gauthier, with the company long after Hitch had passed. This was good luck for me, because I got to work with her and hear all about how she would do crossword puzzles with Jessica Tandy on the set of THE BIRDS, how she used to accompany Alma Hitchcock--then in frail health--on travels to and from England, and how even- handedly she felt Donald Spoto treated Hitchcock in his biography , DARK GENIUS (well worth a read for all Hitchcock lovers, by the way).
By the way, the little cartoon sketch of Hitchcock's profile from ALFRED HITCHCOCK PRESENTS? Old Hitchcock drew that himself. -
Alfred Hitchcock was the first real director I got into (meaning after I saw one of his films I had to see more). Here are my favorites: PSYCHO (my all-time favorite Hitchcock film and one of my top three favorie films of all time), MARNIE (a brilliant, underrated surreal classic), THE BIRDS (the best Nature vs. Man flick ever), VERTIGO (this one still gives me the chills), REAR WINDOW (what's not to love?), ROPE (a bold experiment in 10-minute takes), THE TROUBLE WITH HARRY (a black comedy about a troublesome corpse), FRENZY (IMHO, Hitch's best "wrong man" movie), FAMILY PLOT (yes, I have a soft spot for his 53rd and final feature), STRANGERS ON A TRAIN (great), THE MAN WHO KNEW TOO MUCH (1956 version with James Stewart and Doris Day), NORTH BY NORTHWEST (Cary Grant's best Hitchcock role), and last, but certainly not least, SHADOW OF A DOUBT with Joseph Cotten in his second of three great roles (Jed Leland in KANE, and in THE THIRD MAN). Happy 100th, Hitch!
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Apparently REAR WINDOW is being cleaned up and remastered like SPARTACUS, VERTIGO, and MY FAIR LADY a few years back. Universal, which holds the rights to the Paramount film, is planning to re-release it sometime this year or next, I believe theatrically in big cities, then on video and DVD. I hope so. REAR WINDOW hasn't been commercially available for a few years now (except to rent on fifth-generation tapes). Spike Lee: actually, I do plan on celebrating when Brian De Palma turns 100. And finally: no, Hitchcock was NOT forced to shoot the psychiatrist ending at the end of PSYCHO. If you read the original Robert Bloch novel, it's there, but Sam explains it to Lila, rather than a psychiatrist. The scene was included in Joseph Stefano's original script, as well as the scripts written by other writers in 1959. So the explanation scene was always there, it was always planned to be shot.
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The lucidity in Hitchcock's films is amazing. No other director had such a perfect vision for each story. Of all his great movies, my fav is The Birds. It's a perplexing film. It's not necessarily only about birds attacking. There's more to it which I haven't figured out yet. The Birds is Hitch's only suspense/thriller film where a human doesn't kill another human. Also, am I the only one who finds the Brenner family odd: Jessica Tandy is mom to Rod Taylor and Veronica Cartwright; Taylor looks too old to be the son of Tandy and Cartwright is way too young to be the daughter of Tandy and sister of Taylor. And the actors all have different nationalities. It's an odd makeup of a family. The Birds is a surreal masterpiece with unforgettable imagery.
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I agree with the poster above regarding "Lifeboat". What a great movie. Of all the great films Hitchcock made, I remember this one as much as his more familiar titles.
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Perfectly written. I couldn't have said it better myself.
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OH! How cruel you all are. To make a man relive that moment... that moment when Grace Kelly's luminous face decended towards me. The me of some years a go when they wisely re-released Rear Window. To this day it is his finest work!!
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OH! How cruel you all are. To make a man relive that moment... that moment when Grace Kelly's luminous face decended towards me. The me of some years a go when they wisely re-released Rear Window. To this day it is his finest work!!
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I haven't even read any of what I'm sure are interesting posts, but I must say that I really appreciate your candid commentary for one of the greats of Subtle Fright Films. I too always feel a sense that Hitchcock is nearby, with a spooky and sometimes tougne-in-cheek presence when I watch his fims. It's cool that someone in this day and age pays public respect to one of the masters of smart suspense. Thanks, dude!!
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Does anybody know what kubrick thought of Hitchcock's work? Or maybe any other modern directors thoughts on Hitchcock? Surely most directors must have some opinion on Alfred. Also, since their seems to be some many polarized thoughts in these talkbacks, who would you rather see make one more film from the grave--Kubrick, Kurosawa(sp?) or Hitchcock?
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I don't think it's worth comparing Hitchcock and Spielberg but if you think Spielberg is worse then you should remeber the Duel. His first movie, but worthy of any of Hitchcock's. To make such a thriller out of a simple car chase with practically no plot! As for my favourite Hitchcock's movies, they are Birds and Vertigo.
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Happy birthday, Mr. Hitchcock. Say, people, I'm planning on renting some of Alfred's finest to view over the weekend. My first picks are The Birds, Rear Window and Virtego. Any other suggestions?
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After reading all the post, there isn't a whole lot to say about "the master of suspense". But as usual, there is always at least one poster who gets my blood boiling and I feel that I MUST respond. I don't flame other people who post, at least not in the sense that we define flaming. But the person who posted under the name Obesity Rules is one rude individual. While ranting about self secure people, he might take a lesson from his own post. Secure people don't need to down other people to make themselves look big. To borrow a line from a film (Can any one give me the title - I've forgotten), Some people are bastards by an accident of birth, but Obesity Rules is a selfmade man. O.R. thinks that being your own person is to live in a void where learning from others is a sacrilege. Yet many directors today will probably tell him that when they were in film school and learning their craft, that among the many films that were screened in the classroom, at least one Hitchcock film may have been shown and dissected by the students. Directors don't just pick up a camera and automatically know how to direct. They learn from each other. Yes, they do establish their own styles and techniques, but one could do much worse than copying a director like Hitchcock. As for directors who disdain what other directors have doen in the past and make their own off-beat films, very few reach the stature of Spielberg and Scorcese. You think the suspense in Jaws was original? Spielberg gives ol' Hitch credit. He pulled every Hitchcock suspense trick out to make the movie as scary as possible. It was. So O.R, go ahead and be your own man. I'm certain that he's a very little man though, much shorter than Hitchcock.
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Aug 14, 1999 4:18:03 AM CDT
To entabob, Poetamelie, EdVille, Sith Lord Jesus, and regarding
by kiwi-1
To entabob - Personally, I like the way Psycho ends. Why? Firstly, it's necessary to understand why Norman did that. But more importantly, this man is giving a pat psychological explanation of why Norman does this. And he completely misses it. We are not convinced by what the psychologist is saying. There is something more to the case than what the psychologist sees, and we are given a glimpse into that with that final look into Norman's eyes, "Why, I wouldn't hurt a fly". The psychologist almost misses that this is a kid that killed his mother. There must be something more than some small jealousy to murder your mother. So that is Hitchcock's point. We are given an explanation covering all the facts, but leaving us unconvinced, like there must be something more. I hope this makes sense. ****** To Poetamelie - I have wanted to see Lifeboat for a couple of years now, and am yet to do so. But I do know how Hitchcock did his cameo. Remember the newspaper in the lifeboat? There was a advert in there for a phony miracle weight loss drug, and Hitchcock posed as the before and after photo. You see, Hitchcock had been on a diet just before making the movie, and so they just took photos before and after. The funny thing is that the public started trying to buy this fictitious drug after they saw what it did for Hitch. ****** To EdVille - I would have to say that I would prefer for Hitchcock to make one more movie, as long as it was up to the standard of his classic films from the 50s and early 60s. Otherwise, Kubrick. I have only seen one Kurosawa (at least I think it was. Ran was Kurosawa, wasn't it) but I was pretty impressed,a nd want to see more. ****** To Sith Lord Jesus - Try some of his earlier B&W films as well. I would suggest Notorious and Strangers On A Train, for a start. ****** Regarding the Harris & Katz restoration of Rear Window - Please let this be so. RW is my third favourite Hitchcock, after Vertigo and Psycho. I love what they did with Vertigo and Spartacus, and would love to see RW with the crisp visuals I have come to know these two films in. I found a copy of RW in a second hand store last year, and grabbed it eagerly. It is an oft-watched video, and to get a crystal clear image, in widescreen. Please... ****** Sorry about the long post.
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Last night, I had the most horrible experience I could possibly imagine; I was sitting in my room, talking on the phone when I turned on the Encore channel to find `Psycho' was playing. I quickly hung up and grabbed a soda to watch this film by one of the most brilliant filmmakers in history, only to find out when it ended, that they were playing Hitchcock films all day. I was - needless to say - extremely pissed off, and nearly threw my phone into the screen. This was a great lesson in learning to check the Tv schedules immediately when I wake up. The worst part is, I checked the rest of the week, and the only film Hitchcock related is a documentary on him playing on the 28th. I have the worst luck.
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