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Post by Mighty Jack on May 31, 2010 13:20:14 GMT -5
Thanks you two - well I missed 2 days (I was moving) so getting back to it... #16 Dial M For Murder (1954) An ex-tennis pro carries out a plot to murder his wife. When things go wrong, he improvises a brilliant plan B. (IMDB) Cast:Ray Milland as Tony Wendice Grace Kelly as Margot Mary Wendice Robert Cummings as Mark Halliday John Williams as Chief Inspector Hubbard Anthony Dawson as Charles Alexander Swann, a.k.a. Captain Lesgate Leo Britt as The Storyteller Patrick Allen as Detective Pearson George Leigh as Detective Williams George Alderson as First Detective Robin Hughes as Police Sergeant In addition to expansive chase sequences, Hitch was also fascinated with exploring stories confined to limited or single sets. A few years after Dial M came out, Hitch would film the perfect example of this style with Rear Window. But Dial M is pretty damn good as well. It's amazing that it succeeds. The first half hour is basically exposition with people sitting around a room explaining everything that went before and what's going to happen during the rest of the movie. Only a mad man or a genius would think this could possibly work. And yet it does, brilliantly - and it never fails to maintain a high level of audience interest and suspense. The acting by Ray Milland is superb and Grace Kelly, Hitches favorite leading lady, is convincing as well.. Revival houses sometimes will show this in 3 D, the only movie Hitch filmed using this technique. Memorable scenes: The murder attempt, the scissors! Memorable Quote: "They talk about flat-footed policemen. May the saints protect us from the gifted amateur." - John Williams as Chief Inspector Hubbard Hitchcock Cameo: 13 minutes in he can be seen in the reunion photo, sitting at a banquet table. Of Note: Robin Hughes, who played the head in MSTs "The Thing That Couldn't Die" has a small role as a police officer
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Post by Justin T on Jun 1, 2010 13:58:09 GMT -5
Yes, Dial M For Murder is one of my favorites too for all the reasons you stated. The acting helps make this one work. One of the things I love about Hitch was that he dared to be different sometimes. Him taking concepts and ideas that sound cool but you would think wouldnt work, but he made them work.
Grace Kelly was something special. I love all 3 movies she did with Hitchcock.
I was held in suspense several times, wondering how it was going to end. I also loved Hitch's cameo in this, very clever to put himself in the photo. I almost missed it the first time I watched the movie.
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Post by Mighty Jack on Jun 1, 2010 23:00:20 GMT -5
Oh and I forgot to mention - Jay Livingston, who won that Oscar for Best song (Man Who Knew Too Much) and composed such classics as Mona Lisa as well as TVs Bonanza theme… was the guy who co-wrote those songs heard on MSTs “I Accuse My Parents”#15 The Lady Vanishes (1938) While traveling in continental Europe, a rich young playgirl realizes that an elderly lady seems to have disappeared from the train. (IMDB) Cast: Margaret Lockwood as Iris Henderson Michael Redgrave as Gilbert Paul Lukas as Dr. Hartz Dame May Whitty as "Miss Froy" Cecil Parker as Mr. Todhunter Linden Travers as Mr. Todhunter's mistress Naunton Wayne as Caldicott Basil Radford as Charters Mary Clare as Baroness Emile Boreo as Boris, the Hotel Manager A thriller set on a train, where it appears an old woman has simply vanished into thin air. Nimble wit and quick pacing are the highlights of this adventure, which caps off a string of directorial triumphs in Hitch's British era. (The Man Who Knew Too Much, 39 Steps, Sabotage, Secret Agent, Young and Innocent). Hitch uses a different tactic here and keeps his audience in the dark. Actress Margaret Lockwood is beautiful and has great rapport with her co-stars, Michael Redgrave as her eccentric ally and love interest, and Miss Froy, played by Dame May Whitty. The story is one that will be revisited in a variety of ways over the years, even in his TV series (Into Thin Air) and Jody Foster’s “Flight Plan” Memorable scenes: Iris spots Miss Froys name written on the window - The Dr. attempts to get Gilbert and Iris to consume a spiked drink - the fight amongst the magician’s equipment. Memorable Quote: "I'm about as popular as a dose of strychnine." - Michael Redgrave as Gilbert Hitchcock Cameo: Near the end we see Alfred, wearing a black coat and smoking a cig at Victoria Station Of Note: The New York Times named this their "Best Picture of 1938"
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Post by Mighty Jack on Jun 2, 2010 23:24:03 GMT -5
#14 Rebecca (1940) When a naive young woman marries a rich widower and settles in his gigantic mansion, she finds the memory of the first wife maintaining a grip on her husband and the servants. (IMDB) Cast:Laurence Olivier as Maxim de Winter Joan Fontaine as The Second Mrs. de Winter George Sanders as Jack Favell Judith Anderson as Mrs. Danvers Nigel Bruce as Major Giles Lacy Reginald Denny as Frank Crawley C. Aubrey Smith as Colonel Julyan Gladys Cooper as Beatrice Lacy Florence Bates as Mrs. Edythe Van Hopper Hitchcock’s first US production is a Gothic romance, edged with madness. A classic, which earned 11 nominations and won the Best Picture Oscar (Hitch lost the best director award to John Ford for the “Grapes of Wrath”. Ford would win 4 directorial Oscars, Hitch never earned a one). The performances are all solid; Joan Fontaine does seem uncomfortable and uncertain, just as Hitch wants her to be. The supporting actors steal the show, the great George Sanders is suitably slimy and Judith Anderson is perfectly batpoopie insane as Mrs. Danvers. Rebecca is Hitch at his most slick and commercial and he does a brilliant job of casting Rebecca's formidable shadow upon the whole film. Memorable scenes: Joan Fontaine looks out a window as Mrs. Danvers speaks to her of suicide - Danvers engulfed by flame in the finale Memorable Quote: "You thought you could be Mrs. de Winter, live in her house, walk in her steps, take the things that were hers! But she's too strong for you. You can't fight her - no one ever got the better of her. Never, never. She was beaten in the end, but it wasn't a man, it wasn't a woman. It was the sea!" - Judith Anderson as Mrs. DanversHitchcock Cameo: This one takes place near the end, he seen outside the phone booth while Jack makes a call. Of Note: Hitch’s first film for Selznick for the US of A, was originally going to be a movie about the Titanic
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Post by Justin T on Jun 3, 2010 23:40:02 GMT -5
I haven't seen Rebecca yet, but I have watched The Lady Vanishes and it's become one of my favorites. I loved Margaret Lockwood, she's a beauty and she does some fine acting, loved the chemistry between her and Michael Redgrave. I also enjoyed the comic relief from Charters and Caldicott.
I discovered The Lady Vanishes and The 39 Steps during a sale at Barnes and Noble last summer, 50% off Criterion DVD's. I found the two movies and I said to myself "Here we go, Hitchcock I haven't seen yet, i'll give them a try." I'm glad I did, I really enjoyed both movies. I watched Lady Vanishes with my parents and a friend and they enjoyed it as much as I did.
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Post by Mighty Jack on Jun 3, 2010 23:41:17 GMT -5
#13 Foreign Correspondent (1940) On the eve of WW2, a young American reporter tries to expose enemy agents in London. (IMDB) Cast:Joel McCrea as Johnny Jones / Huntley Haverstock Laraine Day as Carol Fisher Herbert Marshall as Stephen Fisher George Sanders as Scott ffolliott Albert Bassermann as Van Meer Robert Benchley as Stebbins Edmund Gwenn as Rowley Eduardo Ciannelli as Mr. Krug Harry Davenport as Mr. Powers Such style: Hitch's wartime mystery is full of adventure, humor and romance! Correspondent has a very dense plot, a brilliant narrative and memorable set pieces. And -aside from Laraine Day's -at times- whinny performance as the female lead (plucky Nova Pilbeam would have been a better fit)- is stacked with memorable performances. I’ve always been an admirer of George Sanders and he’s pretty fun as ffolliott (2 fs, no caps) in this, his second Hitch flick of the year. Though it’s a film that has fallen through he cracks, is often overshadowed by Rebecca, and has been criticized as being dated (okay, sure the American Anthem playing at the end was corny), I feel its one of Alfred’s most entertaining and I actually enjoy it a bit more than the classic Rebecca (though it isn't as sophisticated). The espionage and many twists make for a rousing film. Memorable scenes: The umbrellas, the windmill and an inventive plane crash that had to be timed perfectly. That’s real water going through film projected on rice paper. Memorable Quote: "I would gladly relieve the young lady of this embarrassment, but you know how women are with firearms, they have no sense of timing. Now look, I'll just sit here and you carry on with whatever you were doing. Don't mind me, I sometimes sit like this for hours." - Scott ffolliott Hitchcock Cameo: When Haverstock spots Van Meer for the first time, Hitch is seen walking past him while reading a newspaper. Of Note: The film was one of two Alfred Hitchcock films nominated for the Academy Award for Best Picture in 1941, the other being Rebecca, which went on to win the award. (Wiki) Hitch on Dick Cavett, discussing this film (and psycho)
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Post by Mighty Jack on Jun 5, 2010 0:06:32 GMT -5
#12 The Wrong Man (1956) True story of an innocent man mistaken for a criminal. (IMDB) Cast: Henry Fonda as Christopher Emmanuel "Manny" Balestrero Vera Miles as Rose Balestrero Anthony Quayle as Frank O'Connor Harold Stone as Jack Lee Based on the true story of a man accused of a crime he didn't commit. Watch it to see a different side of Hitchcock. Starkly crafted and directed, it’s realistic, gut wrenching and the closest thing to an art-house film Hitch ever created. The pacing is very methodical, almost documentary like in approach. In other films like Spellbound and Dial "M" For Murder, legal proceedings are shown in a surreal montage. Here, Manny -the Wrong Man- is put through the wheels of justice (thanks Coleman) in painful detail. It is a dehumanizing experience, one that robs a person of his dignity. Henry Fonda plays Manny, and he is flawless in the role. Fonda is one of my all time favorite actors and he usually plays men of great integrity and quiet strength. His portrayal of Manny carries this integrity - and seeing a good man put through this hell; by a system that rushes to judgment in its zeal to end a case; hit me like a George Foreman right cross to the jaw. Vera Miles, who plays Manny’s wife, gives a superb performance. Her decent into despair is achingly true and had me near tears. I'm not that familiar with the actress' other performances, I know she had a part in Psycho, but her career isn't one I'm in tune with. I don't know if she was considered a great actress or not - but she is amazing here. I wonder how she would have done in Vertigo (she was the directors first choice, but she got pregnant and couldn't take the role) The Wrong Man isn't going to be everyone's cup of tea. It's not a rip-roaring yarn with endless suspense. But it is one of my favorite movies, Hitchcock or otherwise, in part because it reaches in with brutal honesty and touches upon a deep fear of mine. The fear of a sudden, spiraling chaos entering and destroying all that is sane and beautiful in ones life. Memorable scenes: Vera Miles' far away look in lawyers office - The bit with the cracked mirror - The merging of the innocent Manny, with his guilty double. Memorable Quote: "An innocent man has nothing to fear, remember that." - Lt. Bowers Hitchcock Cameo: Alfred is seen before the credits roll, giving an introduction to the film. Of Note: Tuesday Weld and Bonnie Franklin had small cameos as the giggling girls who answer the door in the tenement. Sadly, Warners cropped the DVD release to fit standard widescreens – Cropping Hitch, who had such an eye for composition, is unforgivable. Hopefully this will be rectified in some future release.
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Post by Mighty Jack on Jun 5, 2010 17:08:32 GMT -5
#11 Shadow of a Doubt (1943) A young woman discovers her visiting "Uncle Charlie" may not be the man he seems to be. (IMDB) Cast: Teresa Wright as Charlotte "Charlie" Newton Joseph Cotten as Charles Oakley Henry Travers as Joseph Newton Patricia Collinge as Emma Newton Macdonald Carey as Detective Jack Graham Wallace Ford as Detective Fred Saunders Hume Cronyn as Herbie Hawkins Shadow is more psychological and character driven. Watch it for Joseph Cotton, who was pitch perfect as the suave but diabolical Uncle Charlie. I love how the train he rides into town on, billows out thick black smoke from its stack. As if it's bringing something evil to town. Though a classic, the film does have its rough patches. The character of the detective was weak and I wasn't as fond of the Dimitri Tiomkin score. I know he's considered great, but I find his work a bit overdone and soap opera-ish. Bernard Hermann's surreal, haunting scores suited Hitchcock best. Still, there is much to enjoy. Critic Dave Kehr said summed it up nicely when he wrote… “Hitchcock's discovery of darkness within the heart of small-town America remains one of his most harrowing films, a peek behind the facade of security that reveals loneliness, despair, and death. Thornton Wilder collaborated on the script; it's Our Town turned inside out.” But least we forget, Alfred throws in splashes of black humor throghout. Memorable scenes: The train bringing Uncle Charlie to town billows out thick black smoke - Joseph Cotten speaks of his hatred for rich single women, his niece Charlie argues that they are people like everyone else. Cotten turns, looks directly into the camera and replies chillingly... "Are they?" Memorable Quote: "Do you know the world is a foul sty? Do you know, if you rip off the fronts of houses, you'd find swine? The world's a hell. What does it matter what happens in it? Wake up, Charlie. Use your wits. Learn something." - Joseph Cotten as Uncle Charlie Hitchcock Cameo: 14 minutes into the film he can be seen on the train playing bridge with a man and a woman (Dr and Mrs. Harry). Charlie Oakley is traveling on the train under the assumed name of Otis. Mrs. Harry is eager to help Otis, who is feigning illness in order to avoid meeting fellow passengers, but Dr. Harry is not interested and keeps playing bridge. Hitchcock on his part seems surprised to see that he has somehow been dealt a full suite of spades, a Grand Slam bridge hand. Of Note: Playwrite David Mamet calls it Hitchcock's finest film. Hitchcock sometimes told interviewers that the film was his personal favorite among his American films. (Wiki)
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Post by Justin T on Jun 5, 2010 19:55:24 GMT -5
Foreign Correspondent and The Wrong Man sound interesting. I'll have to give them a try sometime.
I dont watch Psycho very often anymore, its been several years since I last saw it actually, but that's because even though I know the whole story the movie still creeps me out. I totally agree about Anthony Perkins performance MJ, its great. It's a classic for a reason.
I'll have to rewatch it again sometime soon, its been too long
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Post by Mighty Jack on Jun 7, 2010 23:00:06 GMT -5
#10 Sabotage (1936) 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. (IMDB) Cast: Sylvia Sidney as Mrs Verloc Oskar Homolka as Karl Anton Verloc Desmond Tester as Steve John Loder as Sergeant Ted Spencer Joyce Barbour as Renee Matthew Boulton as Superintendent Talbot S.J. Warmington as Hollingshead William Dewhurst as The Professor Sabotage (Not to be confused with the later work, Saboteur) doesn’t make many top 10 lists, but IMHO this is pure Hitchcock at his best. I love its hauntingly sad, tense story. The camera angels, framing, the deep shadows and pacing are all impeccable. The acting by Oskar Homolka and Sylvia Sidney (who modern viewers might know from Beetlejuice) is brilliant. The director and his lead actress didn't care for one another in the least; but she gives a meaningful, heartbreaking performance SPOILER ALERT! The movie concerns a man (Homolka) who is kind and quiet, he takes care of his young wife and her brother and runs a movie house. But he has a dark secret life that causes the death of his wife’s brother. Critics at the time slammed Hitch for this death and Hitch himself said that it was a mistake. But I disagree. If the boy hadn't died, the event (a bombing) would have been effective only in an abstract manner. That it hurt someone we'd invested time with adds poignancy and depth. Before this, Homolka was a somewhat sympathetic character, but afterwards we have no choice but to see him as a monster. Sidney's scenes here are heartbreaking. She keeps seeing her dead brother in the crowd, and that 1,000-yard stare she wears was moving and real. Memorable scenes: The boy with the bomb - Mrs. Verloc keeps seeing her dead brother in the crowd Memorable Quote: "Hurry up - you might be late..." - Mr. Verloc to Steve (Who unknowingly holds a bomb) Hitchcock Cameo: None Of Note: Actor Charles Hawtrey can be seen as the studious youth at the aquarium – Beatles fans will recognize the name from John Lennon’s ad-lib during “Let It Be”, in which he says…"'I Dig a Pygmy', by Charles Hawtrey and the Deaf Aids! Phase One, in which Doris gets her oats!"
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Post by Mighty Jack on Jun 8, 2010 23:03:51 GMT -5
#9 Marnie (1964) Mark marries Marnie although she is a habitual thief and has serious psychological problems, and tries to help her confront and resolve them. (IMDB) Cast:Tippi Hedren as Marnie Edgar Sean Connery as Mark Rutland Diane Baker as Lil Mainwaring, Mark's sister-in-law Louise Latham as Bernice Edgar Mariette Hartley as Susan Clabon Martin Gabel as Sidney Strutt, one of Marnie's victims Bruce Dern as the sailor who traumatizes Marnie Alan Napier as Mr. Rutland, Mark's father Bob Sweeney as Cousin Bob Meg Wyllie as Mrs. Turpin Melody Thomas Scott Marnie as a child (uncredited) In the late 60’s Hitch’s films were -by some- seen as old fashioned. With the advent of Method acting and an interest in the techniques of Cinéma vérité, Hitchcock’s continued use of rear projection and Mattes seemed out of date. It is important to understand that Hitchcock was influenced heavily by German expressionism, the works of Fritz Lang and his ilk. This 'expressionism' will become an integral part of Hitch’s style from beginning to end. So in reality Marnie is not a film by a director stuck in the past, but rather by one who has mastered a “style” and continued to develop and experiment within that style. Much the same way you’d see painters from Gaugan and Michelangelo become masters of a style or genre. In that light Marnie is a major work of art. The master uses all his skill to such a degree that every piece of music, color, framing, delivery of dialog, etc - works in brilliant synchronicity. Vertigo is Hitch at his most perfect within this craft; Marnie is its close cousin. The use of the fading/forward camera move, bright color to signify a persons mental unraveling, and the psychological study and off kilter love story make these kindred spirits. Marnie isn’t perfect, at times the script is overwrought and the Matte for the Boston apartment doesn’t work, even within the context of expressionism. But Sean Connery is perfectly cast, like Cary Grant he brings a blend of the suave and dangerous to his performance. The movie was ripped to shreds on its release but eventually the tide turned and Marnie found its audience. It started with a few vocal defenders, (authors Donald Spotto and Robin Wood lead the charge and the positive upswing took fire with College students and later Leonard Malten championed the film) which makes me happy because I always felt it was sadly under rated. Memorable scenes: Hitch's extensive and expressive use of color (Yellows are used to alert the audience to something, Reds are used to alert Marnie) – Marnie (with stolen cash) sneaks by a cleaning lady - Marnie says, "There, there", in a quiet childlike voice after she shoots injured horse. Memorable Quote: ”I've caught something really wild this time... I've tracked you and caught you and by god I'm going to keep you." - Sean Connery as Mark Rutland Hitchcock Cameo: 5 minutes into the film, Hitch enters through the left of a hotel corridor after Marnie passes by Other Thoughts: I found this after writing my thoughts. It's interesting to compare it with what I said: Author Robin Wood on Hitch's use of Mattes and rear projection... [Hitchcock] worked in German studios at first, in the silent period. Very early on when he started making films, he saw Fritz Lang's German silent movies; he was enormously influenced by that, and Marnie is basically an expressionist film in many ways. Things like scarlet suffusions over the screen, back-projection and backdrops, artificial-looking thunderstorms—these are expressionist devices and one has to accept them. If one doesn't accept them then one doesn't understand and can't possibly like Hitchcock.
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Post by Mighty Jack on Jun 9, 2010 23:44:31 GMT -5
#8 Psycho (1960) A young woman steals $40,000 from her employer's client, and subsequently encounters a young motel proprietor too long under the domination of his mother. (IMDB) Cast:Anthony Perkins as Norman Bates Vera Miles as Lila Crane Janet Leigh as Marion Crane Martin Balsam as Detective Milton Arbogast John Gavin as Sam Loomis Simon Oakland as Dr. Fred Richmond John McIntire as Sheriff Al Chambers Lurene Tuttle as Mrs. Chambers Frank Albertson as Tom Cassidy Patricia Hitchcock as Caroline, Marion Crane's coworker. Virginia Gregg, Jeanette Nolan, and Paul Jasmin (all uncredited) as the voice of Norma Bates,. Ted Knight plays a police officer The grand-papa of the modern slasher film is still effective today and IMHO reigns as the best of the genre because it tells a chilling story, and does so with style and genius. Before this movie, Hitch had gone bigger and brighter. North By Northwest was a huge cross-country romp - colorful with a big budget. With Psycho though he goes back to his roots - but with the added keen eye of experience. Every angle, every shadow, every sound, is pure Hitchcockian expressionism at its finest. The shower scene is still as horrifying as ever and the entire production is drenched in dread (the scene that cuts from the swirling drain to the eye of the victim, is one of the most stunning images in Hitch’s canon (or in any film for that matter). The sections in the dark ominous house, when Vera Miles is looking to question Mother, was brilliant film making. Every part of her search reveals something about Norman's character, from his "Little boys" bedroom to the final shocker in the cellar. There are flaws: The section with Simon Oakland at the end carries too much exposition. Those bits needed to be trimmed back to the barest explanation or eliminated entirely (writer Joseph Stefano pushed to have this scene included, but it violates Hitchs rule of the Macguffin and forces the audience to examine the mechanics of the story too closely). But the final scene with Norman draped in deep shadow, as the voice of Mother plays in his head - was perfectly creepy. Hitch used 3 women to do the voice of Mother. And while we consciously might not be aware of this, something in our subconscious tells us that something’s not quiet right. It's a beautiful touch in an impeccably created film. We are too familiar with the story these days - it doesn’t surprise us the way it did my mother (who loved this movie) and other theatergoers in the 60s. But it is still essential Hitchcock viewing, highlighted by Anthony Perkin’s sympathetic/disturbing performance and Bernard Hermann’s timeless score. Memorable scenes: The shower - Mother revealed - The final shots of Norman with Mothers face quickly superimposed over his. Memorable Quote: "You know what I think? I think that we're all in our private traps, clamped in them, and none of us can ever get out. We scratch and we claw, but only at the air, only at each other, and for all of it, we never budge an inch." - Anthony Perkins as Norman Bates Hitchcock Cameo: 7 minutes in he can be seen through a window, wearing a Stetson hat, standing outside Marion Crane's office Of Note: Psycho will debut for the first time ever on Blu-ray(TM) on October 19, 2010 Hitch had to finanace the film himself because Paramount didn’t want to make it, and was expecting him to direct No Bail For the Judge, with Cary Grant and Audrey Hepburn instead. Hitch’s 6 minute trailer is a classic
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Post by The Mad Plumber on Jun 10, 2010 1:26:15 GMT -5
Wow, Psycho is so high up on the list and yet I've not heard of a lot these pictures that are below it. I guess you think Psycho is overrated? Admittedly, I don't side with popularity, but, like I said, I've never heard of many of these pictures and I know they're not at the video store.
I'm also wondering why Sean Connery is wearing his Bond toupee for Marnie. Did he have to wear it for every movie he was in if he wanted to work?
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Post by Mighty Jack on Jun 10, 2010 2:14:21 GMT -5
He was still in the midst of Bond, so maybe he didn't want to kill the illusion just yet (which he would do when he donned the red diaper in Zardoz).
I wouldn't say that I feel Psycho is overrated. Any more than I thought that of the song "A Hard Days Night" when I ranked it at #11 on my Beatles song list. It's more an embarrassment of riches and where to slot them.
Admittedly, I'm probably one of the few who'll ever put Sabotage in a top 10. I love that flick, but that's probably the one most people would push back to get Psycho into the 10.
EDIT - After watching it again on blu-ray, I've popped Psycho into the top 10 - it takes Shadow of a Doubt's place in the 10, Sabotage remains in the top 10.
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Post by Mighty Jack on Jun 10, 2010 23:04:28 GMT -5
#7 The Birds (1963) A wealthy San Francisco playgirl pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people there in increasing numbers and with increasing viciousness. (IMDB) Cast:Tippi Hedren - Melanie Daniels Rod Taylor - Mitch Brenner Jessica Tandy - Lydia Brenner Veronica Cartwright - Cathy Brenner Suzanne Pleshette - Annie Hayworth I wasn’t allowed to go see Psycho when it would come to town (we didn’t have DVDs back in the 60s and popular films would return to movie houses and drive-ins for years). In fact I didn’t see it until the advent of cable and HBO. But I did get to watch the Birds and I remember it scared the ever-loving crap out of me. And I remember asking my mother, why - why were these birds doing this? She didn't know, and that was a huge part of the fear. The fear of chaos, of nature gone mad. And nature doesn't give you a reason why when it causes devastation. There are no neat, pat answers. The Birds still scares the crap out of me, even today its impact hasn't lessened. But I don't think it would have been as effective if released today. I don't think the filmmakers or the audience would have the patience. Hitch takes time to develop his story and characters. The first attack doesn't happen until 25 minutes into the film. Can you imagine a director doing this today? Today it's more blood, more explosions, more of everything brought at a faster rate. But there's less artistry - and in the end, there's few things today that creep me out me as much as the Birds did. The acting is great and the musical score? There isn't one. The music is the electronically enhanced bird chirps, caws and flapping wings and this adds to the chills. The Birds is a haunting, scary masterpiece. As powerful for me today as it was all those years past when I first saw it. On the DVD is a 15-minute documentary on the making of the film. It is as interesting an extra as anything I've ever seen. One cool fact was that one of Hitch's original ideas for the ending was to have the car approach the safety of San Francisco... only to find millions of Birds covering the Golden Gate Bridge. Wow, that would have been a stunner. Memorable scenes: Melanie waits by the school, as birds silently amass behind her - Jessica Tandy discovers a farmer with his eyes gouged out - The final attack and slow walk to the car Memorable Quote: "Back in your gilded cage, Melanie Daniels." - Rod Taylor as Mitch BrennerHitchcock Cameo: Leaving the pet shop with 2 dogs as Tippi enters. Other Thoughts: Director Frederico Fellini called The Birds an "Apolocalyptic poem" Of Note: The bird effect were created by animator Ub Iwerks. MSTies will be familiar with Iwerks work as he was the one who animated that pincushion man cartoon the kid was watching during the episode, “Merlin’s Shop of Mystical Wonders”. To commemorate the Birds 45th anniversary, Mattel released a limited edition Barbie doll. This cracks me up, and Barbie looks mildly put out rather than horrified [/color] [/center]
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