Hitchcock

Greetings again from the darkness. Here goes: 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. Whew!

It's kind of interesting that Alfred Hitchcock is hot again. His Vertigo recently displaced Citizen Kane as the all-time greatest film. HBO is still running their recent production of "The Girl", which is based on Hitchcock's making of "The Birds" and his unhealthy connection to Tippi Hedren. 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 ... in fact, it is quite interesting and entertaining ... it's just kind of false advertising.

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. Surely every great director and writer and artist has a muse and/or support system; and, there is no question Alma was a very talented lady, but her strength here bordered on distracting to the overall picture. 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). I also got a kick out of James D'Arcy as the affected Anthony Perkins and all his quirky mannerisms.

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.

In 1960, famed director Alfred Hitchcock released Psycho, the film to which his name would be more associated than any other film in his heralded career. In the new bio-film Hitchcock, Psycho is the backdrop for the story between the proclaimed 'Master of Suspense' and his wife and muse Alma Reville.

Directed by Sasha Gervasi (Anvil: The Story of Anvil), the film stars Sir Anthony Hopkins as the odd-shaped director and Dame Helen Mirren as his wife Alma. We pick things up in 1959 and Hitch's ("Just call me 'Hitch'. You can hold the 'cock'") introduction to the story of serial killer Ed Gein. Hitch had just released North by Northwest starring Cary Grant and he was fascinated in the story of Gein that was the inspiration for Robert Bloch's novel, Psycho.

Hitch aggressively pursued the optioning of the story and began to adapt it as a theatrical release. But Paramount Studios, to which Hitchcock was employed, was not eager to bring the gruesome tale about a transvestite and his murderous relationship with his dead mother to the big screen. Even with Hitchcock's clout (he had already released over 40 theatrical films by 1959) was not enough to sway studio bosses, and Hitchcock eventually had to finance the film himself and mortgage his home in an effort to get the film into production (this risky move proved lucrative as Hitchcock earned an estimated $15 million by fronting his own money for 60% of the gross profits).

The film takes us through all aspects of the production of the film from financing through casting; from fights with the ratings board through the limited release of the film in only 2 theatres nationally.

But at the heart of the film is the relationship between Hitch and his wife, Alma. Hitch is hardly represented as a caring and understanding sort. Hopkins plays him as an arrogant, demanding sod who wanted to control over his leading ladies as her secretly admired his blonde actress hires unprofessionally in his private office. He was a heavy eating, heavy drinking auteur that never won an Academy Award despite such revered films as Rebecca, The Birds and Vertigo having been crafted by his immense talent.

Alma, on the other hand, is portrayed as the 'wizard behind the curtain'. She helps guide Hitchcock through his film journey's doing re-writes on scripts and providing directorial and production support. All the while, Alma is always pushed out of Hitchcock's limelight. And with Hitch's increasing jealousy over Alma's time spent with writer Whitfield Cook (Danny Huston) coupled with the financial burden of financing the film, the relationship between the two hits troubled water.

Director Sasha Gervasi works off a screenplay by John J, McLaugnlin based on the book "Alfred Hitchcock and the Making of Psycho" by Stephen Rebello and a good portion of the film is fascinating stuff. It's like watching a live-action movie about a making-of feature you would watch on a Blu-ray disc. From the casting interviews with Anthony Perkins (played dead on by James D'Arcy) and Janet Leigh (Scarlett Johansson) to how Hitchcock didn't want to use music during the infamous shower scene but was convinced by his wife and the editors or how upon first cut of the film or how the test audience (which consisted of suits, agents and censors) loathed the film and its violent content; the peak behind the closed set doors was captivating viewing.

Unfortunately, when the film sways away from the production, it is less involving. Hitch and Alma had a collaborative and sometimes combative relationship, but their affection for each other was the least interesting part of the film yet the most consuming.

There is a great supporting cast that includes Jessica Biel as actress Vera Miles, Ralph Macchio and Toni Collette and the look and feel of the era seems captured earnestly. But the movie is squarely on Hopkins' shoulders who, at times, looked odd though the make-up effects. There are times that he loses himself in the role (we loved Hitch acting like a Maestro outside the theatre as he listened to the audience's screams). But there were a few times that we could have imagined Hannibal Lecter uttering the scripted lines.

Our overall response to the film is warm and it deserves a recommendation. Back in 1959, there were no documentarians or a team of staff videotaping behind-the-scenes action for a potential Blu-ray special feature. So it was nice to travel back in history and have documented some of the events that lead to one of the most popular horror films ever made. And for that, we are grateful.

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The odds were against it, let's face it. Then after that TV film about the obsession of Hitch for Tippi Hedren, what was it called? something like "The Girl" Brrrr. I thought, what a pity. But then, I went to see it and I was not merely thoroughly entertained but delighted. Anthony Hopkins and Helen Mirren make a formidable pair. Mirren, in spite of her glamour, I've never seen Alma Reville, as glamorous, Mirren truly captures the essence of the woman and makes that marriage not just feasible but ideal in so many ways. The script, smart and witty and gives a glimpse into what might have really happened. Janet Leigh (a terrific Scarlett Johansson)thanking Hitch and kissing him on the cheek. Look at Hitch/Hopkins's face when that happens. A child. I believed it. So, considering the odds against it, a triumph.

"What if someone really good made a horror picture." After the success of North By Northwest Alfred Hitchcock (Hopkins) was looking for his next film to direct. After reading a book he finds what he is looking for. The studio is against it but Hitchcock decided to finance the movie himself, breaking all the rules as he goes. The story is real, the horror is real, this is the story of the making of Psycho. I'm not sure why but I am a big fan of movies about movies. I was very interested in seeing this not only for that but also because I am a big Anthony Hopkins fan and thought he would be a good choice for this role. The movie itself is really good with some pretty creepy aspects to it but the job that Hopkins does is pretty amazing and sometimes you actually see Hitchcock himself. I'm not sure how accurate this is but Hopkins played a man on the edge of sanity and knowing what I know about Hitchcock it seems to fit. If you are looking for a complete bio-pic of Hitchcock this is not it, but if you are a fan of his then this is a movie not to be missed. I recommend this. Overall, the movie is good but Hopkins is great. I give it a B+.

"That blonde woman of mystery you're after. She's a fantasy. She doesn't exist." Vera Miles (Jessica Biel) to Alfred Hitchcock

A chance that the representation of the eccentric Alfred Hitchcock would be just caricature is high, given his odd appearance, distinctive speech, and off-center personality. Fortunately Anthony Hopkins imitates him enough to be a believably historical character and to invest his own forceful personality.

Hitchcock is a satisfying glimpse into the genius's marriage to Alma (Helen Mirren) and the creation of his greatest screen triumph, Psycho. The unreality is Mirren's glamorous; Alma was plain.

Because of Hitchcock's mid-20th century appearances on his TV show, he may be more recognizable, even now, than Steven Spielberg. Anthony Hopkins and director Sacha Gervasi stay close to the facts as I know them, from his preoccupation with blonde leading ladies to his reliance on Alma's advice about actors, scripts, and edits.

The shenanigans surrounding the censorship of the shower scene in Psycho and the multiple cuts (so to speak!) that make it iconic are faithfully presented. Lessons can be learned about the power of the early censoring agency and the details like nudity and plunging a dagger into a woman that could keep a film out of the theaters. That week to complete the shower scene is an effective primer for those who don't understand the patience necessary to make a classic film.

New to my understanding of the director is his affection for Alma, almost tearful on our side and his, and the civil way he treated Janet Leigh. No need to show his callous treatment of The Birds' Tippi Hedrin, whose career he shortened when she refused his advances.

Let me close by saying a kind word about Helen Mirren as long-suffering Alma—Mirren plays her for an intelligent forgiving companion with her own emotional needs partially fulfilled by writer Whitfield Cook (Danny Huston), who obviously loves her but gets no chance to make love to her.

As for the film itself, it's less a love letter to the director than a depiction of a gifted man who became the master of suspense not without his own measure of personal drama:

"And so, gentle viewer, Psycho—the picture everyone predicted would bring me to wreck and ruin—was such a hit that Alma and I got to . . . Well, let's just say that we got to keep our house—and the swimming pool. And the same critics who despised it went on to call it one of my greatest achievements. Of course, for me, it was just another "moo-vie.'" Hitchcock