Torn Curtain (1966)
Starring Paul Newman and Julie Andrews
Directed by Alfred Hitchcock
Written by Willis Hall and Keith Waterhouse
The (current) RyMickey Rating: B
Showing posts with label alfred hitchcock. Show all posts
Showing posts with label alfred hitchcock. Show all posts
Thursday, November 05, 2020
Saturday, October 31, 2020
You Should Be Watching Psycho Today...
Take the time on Halloween to watch what I consider to be the best film of all time -- Alfred Hitchcock's masterpiece Psycho. I know I'll be doing just that.
And once you're done, feel free to peruse these Psycho-related postings an a look at this website's 2010 Hitchcock Fest wherein I reviewed all of Hitchcock's modern films over the span of a little over thirty days. (2010! I can't believe I did that a decade ago!!!)
2013: Halloween Means...Psycho
2012: The Two Sides of Psycho
2010: Hitchcock Month Review
Hitchcock Fest
Friday, October 31, 2014
"We All Go a Little Mad Sometimes..."
Previous Psycho Blog Posts
2013 -- Halloween Means...Psycho!
2012 -- The Two Sides of Psycho
2011 -- Halloween Means Hitchcock
2010 -- Hitchcock Month Review
2009 -- Minute-by-Minute Thoughts
(link takes you to the "alfred hitchcock" label...scroll down a few posts for Hitchcock Fest posts in which I watched all of Hitchcock's American pictures plus four movies he made prior to making the move to the States in 1940...)
Thursday, October 31, 2013
Halloween Means...Psycho!
The annual Halloween viewing of my favorite movie of all time, Psycho, will commence at some point today. There'll be no in-depth look at the film this year while viewing it -- I want to try and "enjoy" it this time rather than focusing on any specifics. However, feel free to peruse the posts from previous years on the blog and take some time to remember the Hitchcock Fest of 2010 where I looked at all of Hitch's films post-1934.
(link takes you to "alfred hitchcock" label...scroll down a few posts for the Hitchcock Fest)
Wednesday, October 31, 2012
The Two Sides of Psycho
Halloween means my once-a-year viewing of Psycho can commence and, as always, it didn't disappoint. Quite simply, the best movie of all time is a showcase for Alfred Hitchcock's expertise at creating tension and earning his title as the Master of Suspense.
Psycho is a tale of two movies. There's a duality that runs throughout and although the points below simply scratch the surface of the two sides, these were some very basic points I picked up on while watching the film this time around. [Obviously, there are spoilers ahead.]
Psycho is a tale of two movies. There's a duality that runs throughout and although the points below simply scratch the surface of the two sides, these were some very basic points I picked up on while watching the film this time around. [Obviously, there are spoilers ahead.]
- Duality strikes from the very beginning with the iconic Saul Bass-created intro with the gray bars pushing their way onto the black screen for a contrast in "color."
- Marion wears white undergarments when we first see her in the opening scene, but after she steals the money, she's in a black slip. Even something as simple as the purse she carries shows her "two sides." When she leaves her job with the $40,000, she puts the money in a white purse. When she packs to leave town, she places the money in a black purse. Innocence vs. Guilt
- This next one isn't necessarily duality (but then that's such a broad term) except that it shows the two sides of Marion so vividly. She's just bought her new car and there are voiceovers of Marion's boss and the big oil man who's money she's stolen talking about the fact that Marion is now on the run. The scene begins with nervous facial expressions from Marion which then slowly switches to an incredibly evil smirk. This scene always gets me every time I watch it. Truly one of the best moments in the film.
- I've always found it odd the way she folds the money into the paper when she arrives at the Bates Motel. I realize this is a stretch when it comes to "duality," but she takes the two piles of money, places one on each side of the paper and then continues folding the paper in two.
- A lot of reflections (whether they be in mirrors or windows) always seem to be shown when people are either lying or scheming as we see the two sides of flawed characters.
- And then at 49 minutes in, the biggest moment of duality in the movie arrives where the film shifts from focusing on Marion to putting more emphasis on Norman (or at least the investigation of Norman).
- At that same moment, we get the duality of life and death. [Basic, yes I know, but I'm not writing a college essay here, so most of this stuff is borderline obvious.]
- As we learn from the psychologist at the end, Norman himself was only half Norman. He was also half his mother. He was two people in one body.
Seriously basic stuff, I'm aware, but I'm not watching this thing to analyze its every frame...I already did that for an essay in college.
Previous discussions on Psycho can be found below:
And a link to my 2010 Hitchcock Fest where I watched all of Hitch's films post 1930s can be found here.
The RyMickey Rating: A+
Monday, October 31, 2011
Halloween Means Hitchcock
If it's Halloween-time, I can guarantee that you'll find me watching Alfred Hitchcock's Psycho -- simply the best movie ever made. As a film buff when I watch this genius piece of cinema, I sometimes wish I was able to walk into this movie without any preconceived knowledge of it. Imagine watching this not knowing the ingenious twist that occurs at the forty-six minute mark.
Still, after tens of viewings, I find myself discovering new and interesting things with each watch. For instance, Marion's last name is "Crane" and she mentions that to Norman while in the midst of his stuffed birds -- certainly an ominous foreshadowing to her impending doom.
I've blogged about this flick twice before so I'll take this year off and simply send those of you reading this to my past posts regarding this masterpiece.
And while you're at it, feel free to check out posts from last October's 2010 Hitchcock Fest which found myself watching all of Hitchcock's Hollywood films (and also some of his very early British work).
Happy Halloween!
Tuesday, November 16, 2010
Hitchcock Fest Wrap-Up, Part V
And now the Top Ten...Can I even build suspense to the #1 film?
#10 -- Torn Curtain (1966) -- B+
I'd actually avoided this film for years despite its "star power" of Julie Andrews and Paul Newman because I was worried it was going to be too "Cold-War-y" for my tastes. However, I was quite impressed with Torn Curtain's ability to keep me in suspense throughout. Many set pieces (including the one that uses the pi screenshot above) work incredibly well at consistently raising the tension. Definitely worth a look.
Saboteur was actually off of the Hitchcock Month list when I first started and was only added when I tacked on the little addendum to November. I had already seen the film and didn't remember all that fondly. I'm certainly glad I watched it again because it is a true glimpse at who Hitch would become. Hitch has a knack for making "the wrongly accused man" a great central character and here it is no exception. Yes, there are certainly some dated aspects to the production, but this time around it struck me as an early precursor to The Manchurian Candidate and this film definitely deserves to be in that revered film's company.
Hitch's only remake...and he does much better the second time around. While I can't dislike Jimmy Stewart at all, Doris Day is the one who impresses in this. Known for her comedic work, Day is kind of amazing in certain scenes in this film. I was genuinely riveted in certain moments all because of her acting. Moments like that don't come often enough in film and there were a few times that happened here. Another thing to love about this movie is that a good ten minutes of the build-up to the climax are completely dialog-free. Hitch stages everything with music only and it is stunning to watch a director build tension with only visuals and music and no words whatsoever.
Yes, it's a pure horror film. Yes, it's kind of silly. But The Birds works. It's genuinely eerie and freaky that these damn birds just start attacking and killing people. Nothing deep here, but it's a fun ride.
A lovely little film that's a departure from Hitch in that the film takes place mostly in small-town America. Imagine it's 1943 and you're in a theater and you realize that the town that's onscreen is very much like your own. And then Hitch introduces a murderer into the mix (and that ominous train carrying said murderer in the picture above is now draping the town with shadowy deviousness). Some terrific performances from Teresa Wright and Joseph Cotten buoy the film. Shadow of a Doubt is a film that I appreciate much more now that I've gotten a little older. It isn't the least bit showy...but not everything has to be.
I never "got" this film until this viewing as part of the month-long Fest. Now, I can't wait to watch it again. Some of Hitch's best visual work is on display (as depicted in that rather beautiful shot above) in perhaps Hitch's most "adult" film. All the characters are tortured in their own ways and things don't exactly end happily for most of them. Part of me wanted this to fall outside of my Top Five simply because my Top Five is already filled with "classics" and I hoped to have something "fresh" in it...but these top flicks of Hitch's are revered for a reason.
Perhaps the only film in my Top Five that may not fall on the lists of many others, Rebecca was a film that I was not expecting to love, but kind of adored. Part of that love comes from the two ladies above. Joan Fontaine as the unnamed twentysomething who meets and falls in love with the dashing Max de Winter and Judith Anderson as the creepy, maniacal maid Mrs. Danvers who wants this new ingenue out of Mr. de Winter's house both make this movie shine. Hitch's only movie to win Best Picture, there is a kind of "richness" on display that is reminiscent of other films released around this time (Gone with the Wind as an example) that isn't all that common in many of the director's other films...but Hitch manages it all quite well.
The movie that made Jimmy Stewart one of my favorite actors of all time. I saw this so long ago (it was definitely one of my first experiences with Hitchcock), but it still holds up so well all these years later. To think that every single scene is shot in Jimmy Stewart's character's apartment or as a view from his window is kind of a directing tour de force. And Grace Kelly looking all sexy. What's not to love?
I didn't think Rear Window could get knocked out of spot #2, but North by Northwest surprised me this time around. Cary Grant is absolutely winning in this and Eva Marie Saint is his sexy counterpoint. Watching this film this time around, I was bowled over by Ernest Lehman's screenplay. I truly think it's one of the best written films of all time. From the dialog to the plot, everything works so ingeniously. And Hitch lenses everything so well. Dare I say that perhaps later viewings might actually kick this rating up to an elusive 'A+'? I could see it happening in a few years.
Nothing needs to be said other than the following: The Best Movie of All Time.
And there you have it. The month-long celebration of Hitchcock has come to a close. There were some flops, but some definite winners. One must remember that I'm a somewhat harsh critic and I typically say that anything I rate a 'C' or higher is something that I'd recommend for others to see. With that being the criteria, 25 out of the 34 movies I watched, I'd recommend. Not too shabby.
There were definitely some surprises in the mix that fared much better than I expected -- Torn Curtain, Marnie, The Wrong Man.
There were certainly some films that I expected much more from -- Lifeboat, Dial M for Murder, Strangers on a Train.
But I also found some new classics for me -- Rebecca, Shadow of a Doubt, Saboteur.
Overall, this whole thing solidified one thing -- Alfred Hitchcock is my favorite director and that's probably something that will never change. He is the Master of Suspense, and with "suspense" being perhaps my favorite "genre" of cinema it doesn't get any better than putting a Hitchcock film in the dvd player and giving it a go. 75% of the time, you're gonna get something good...and even in the bad, there's gonna be something worthwhile there.
So, do yourself a favor and rent a Hitchcock film if you don't own one. You won't be disappointed.
Wednesday, November 10, 2010
Hitchcock Fest Wrap-Up, Part IV
Continuing the wrap-up...
After a slow start, Hitchcock soon shows his visual skills in this flick from his early career. There are several rather stunning set pieces that get a little lost in a simply "little better than average" film.
I'd seen the play based off of this movie and read the book this movie was based on and was disappointed in both. The film is the best of the three, but it didn't win me completely over. Still, this is pretty darn good early Hitch and moderately okay overall Hitch.
As a film lover, I can't help but be fascinated with Hitchcock's long takes in the film Rope. However, the film (which I remember really liking in the past) was a bit talky this time around and Farley Granger (on the left above) who nearly single-handedly ruined Strangers on a Train by his crappy acting almost does the same thing here. Even looking at the picture of him above makes me cringe.
Suspicion features some good acting from leads Cary Grant and Joan Fontaine, but with a title like "Suspicion," one would expect moments of suspense. However, there's not a minute of tension in the film's first hour and the ending is a bit of a letdown. Nevertheless, I liked the film, but longed for it to be better.
#16 -- The Paradine Case (1947) -- B
This is probably the highest film on the list that the most people will dislike if they watch it. A huge chunk of the film takes place in a courtroom which interested me, but I could see it wearing thin for others. Surprisingly, though, the film really comes alive in what could have easily been a throwaway plotline -- when lawyer Gregory Peck begins to fall for his client, Peck's wife, Ann Todd (pictured above) begins to get a tad jealous. Todd is able to elevate the soap-opera-y aspect and raise it to another level that was completely unexpected to me.
#s 10-1 coming soon...
This may very well have been a case of lowered expectations making something seem better than it actually is, but I remember watching Family Plot (Hitch's last film) several years ago and despising it. This time around, I found it a fun diversion with hints of comedy and a surprising amount of amusing mystery. It's not top tier Hitchcock and I'd love for his last film to have been a classic, but this isn't something Hitch should be ashamed of at all.
Although Hithcock would later call the scene one of his worst cinematic offenses, the screenshot above of a young kid getting onto a bus carrying packages that, unbeknown to him, contain a bomb was shockingly well put together and genuinely exciting. This was the first film that I watched in the fest and I admittedly was not expecting much. However, this early Hitchcock film manages to build suspense even though we know right from the opening moments that the main character is a deadly saboteur seeking to harm the people of England.
This film was such a departure for Hitchcock that the typical Hitchcock cameo within the film is nearly nonexistent. Instead, Hitch appears in shadow in the opening shot stating that the film is a true story about a man wrongly accused of a crime. This is Hitch's grittiest film with nary a bit of humor. With a great performance from Henry Fonda, The Wrong Man was a true surprise for me and one I'd watch again.
If there's one film that I want to rewatch on this list, it's Notorious. I feel that perhaps my rating is too low on this one. To me, the film had a rough start. As I've said in a previous wrap-up, Ingrid Bergman always seems rather cold to me and it took me quite a while to warm up to her in this film. I found it very difficult to believe that Cary Grant would fall in love with her immediately after he met her. However, once the story really kicks in and Bergman's character becomes an undercover spy to help America infiltrate a Nazi ring in South America, the film really starts to shine. The final scenes are quite good and made me think that I need to view this one again.
#11 -- Marnie (1964) -- B
People complain about Tippi Hedren's acting skills and while it would've been nice to see someone else in the title role of Marnie, the film is still a very interesting character study. One of Hitchcock's most overtly sexual movies, Marnie's past has shaped the woman she is now -- a person incapable of loving anyone...especially a man. Sean Connery plays the man who wants to love her and he's a good fit for the role. An interesting film...one that may not be suited for everyone's tastes, but I certainly appreciated the different feel Hitch brought to this one.
#s 10-1 coming soon...
Saturday, November 06, 2010
Hitchcock Fest Wrap-Up, Part III
Continuing on with a brief look back at each film in the Hitchcock Fest...
Perhaps I just wasn't in the mood for this film at the time I watched it, but Dial M for Murder didn't win me over this time around. I know I've seen it before and I remember liking it, but this time around the production just seemed very dry. Despite a few good scenes, the story seemed more suited for the stage rather than for film.
This espionage thriller works quite well for the first half, but the second half turns into a nighttime soap opera and falls apart.
As I'm discovering as I read through Hitch's biography, Hitch grew up Catholic and his religion certainly shaped him. Catholicism is front and center in I Confess, the tale of a priest wrongly accused of murder. Unfortunately, the film's a tad on the melodramatic side and Montgomery Clift's portrayal of the wronged priest (which is actually quite praised by most reviews) didn't work for me at all.
This early Hitchcock film about a lady who vanishes on a train trip through eastern Europe would have worked much better had it all been set on a train. However, the first thirty minutes of the film are just unnecessary filler and bring the flick to a screeching halt before it even begins. Cut out the first act and you're all set with a decent movie.
Admittedly, this was the only flick in the Fest that I didn't watch in the month of October. I watched it last February and didn't rewatch it. However, the problems with the flick were twofold to me. One, Farley Granger's character is such a limp noodle that he makes his scenes nearly unwatchable. And two, while Robert Walker makes for a nasty bad guy, there were scenes towards the end of the film that were simply there to "create excitement" rather than forward the plot. That's very anti-Hitchcockian to me, seeing as how he usually utilizes tension to advance the story to great effect. Needless to say, this film is loved by many...just not me.
A light-hearted mystery-comedy, The Trouble with Harry is perfectly acceptable lesser-tier Hitchcock to me. The acting is very good and the script is fine, but it's not quite funny enough to work as a comedy and certainly not thrilling enough to work as a mystery. It falls awkwardly in the middle of the two genres and the balance isn't quite as good as it should be.
Up next...#s 20-11...
Hitchcock Fest Wrap-Up, Part II
Alright, so we're wrapping up this month-long Hitchcock Fest with a rundown from the Worst to Best films I watched by the Master of Suspense (not that the Best should be any type of surprise). Today we'll look at #s 34-27 with a snippet of my final thoughts for each film.
#34 -- Spellbound (1945) -- D-
One would think that with two big stars -- Gregory Peck and Ingrid Bergman -- something much better would have come out of Spellbound. However, the two stars are awful and have zero charisma with each other. The film is incredibly dated and simply doesn't translate well to today's day and age. The only thing saving this film from an 'F' is the Salvador Dali-inspired dream sequence, a snapshot of which can be seen above.
#33 -- Lifeboat (1944) -- D-
Talk about boring. Lifeboat is a film that I had been looking forward to watching, but it's one that I will never watch again. One would think that being confined to a small space (the entire film takes place on a lifeboat) would cause tensions to rise, but there wasn't a moment of suspense here.
#32 -- Stage Fright (1950) -- D
Stage Fright isn't so much a movie as it is "The Marlene Dietrich Show." The gravel-voiced Dietrich is such a caricature of herself that there's no disassociation between her and her character and it completely takes you out of the movie. Not that there was a whole lot of movie there to begin with...
#31 -- Frenzy (1972) -- D
#30 -- To Catch a Thief (1955) -- D+
Another flick I was looking forward to that fizzled. Not much chemistry between Cary Grant and Grace Kelly and not much of a story either. Add in a completely obvious villain and it's a movie that just doesn't have much going for it.
#29 -- Man Who Knew Too Much (1934) -- C-
In the picture above, the man in the front kidnapped the daughter of the man in the back. One would think that the man in the back would be beating up the man in the front, trying to get his daughter back. He doesn't. Instead, he eats sandwiches with the kidnappers. If anything, I think my C- rating may be a tad high for this one. Watch the remake by Hitch which you'll see much further up this list.
#28 -- Mr. and Mrs. Smith (1941) -- C-
A flick lacking any amount of mystery, Mr. and Mrs. Smith is Hitchcock's one true comedy. An apparent love letter to the lovely lady above, Hitch did the film as a favor to the actress Carole Lombard, a comedienne whom Hitch greatly admired. Unfortunately, the flick just isn't funny. But I do kind of want to go rent some Carole Lombard movies.
#27 -- Under Capricorn (1949) -- C-
The second Ingrid Bergman movie in this bottom of the barrel list (it makes me kind of want to watch Casablanca again to see if I even like her in that). A period piece that's more of a drama than anything else. What is interesting and what perhaps makes this worthy of a rental for film fans is Hitch's utilization of the long take in this film. There are actually some stunning shots with some beautiful camera movements...the film ain't so stunning and beautiful, though.
Tomorrow...#26-#21...
Friday, November 05, 2010
Hitchcock Fest Wrap-Up, Part I
Like I've said, I thoroughly enjoyed this fest. It confirmed that Hitchcock is probably my favorite director of all time. The thriller/mystery genre has always been my cup of tea and Hitch is the cream of the crop when it comes to this type of film.
For today's post (and mainly for my own benefit), I'm going to chronologically list the Hitch films I watched and see if there's any ebb and flow to the ratings. It should be noted that I watched every Hitch film he directed after he made his move to America with 1940's Rebecca, along with four films prior to that move.
The British Era -- 1930s
The 39 Steps (1935) -- B-
Sabotage (1936) -- B
The Lady Vanishes (1938) -- C
Kind of a mixed bag, I'd say. The Man Who Knew Too Much was certainly improved upon in its remake and The Lady Vanishes was bogged down by a tremendously long first act that is, in the grand scheme of things, completely unnecessary.
However, The 39 Steps is a decent attempt at Hitch attempting to blend comedy and mystery and Sabotage is actually one of Hitch's better films. The latter is actually filled with quite a bit of suspense and actually contains some wonderful moments.
1940-1944
Rebecca (1940) -- A-
Foreign Correspondent (1940) -- B-
Mr. and Mrs. Smith (1941) -- C-
Suspicion (1941) -- B-
Saboteur (1942) -- B+
Shadow of a Doubt (1943) -- A-
Lifeboat (1944) -- D-
Hitch is starting to hone his craft, but this era is not without a few clunkers. Lifeboat's an utter disaster and Mr. and Mrs. Smith, Hitch's only attempt at a true comedy falls flat (moreso in the writing department than anything else).
However, the era is highlighted by Rebecca (my opinion of which grows more positive the more I think of it), the charming family mystery Shadow of a Doubt, and the surprisingly relevant-in-this-day-and-age Saboteur.
1945-1949
Spellbound (1945) -- D-
Notorious (1946) -- B
The Paradine Case (1947) -- B
Rope (1948) -- B-
Under Capricorn (1949) -- C-
Also known as the Ingrid Bergman era, seeing as how she starred in three of the flicks above. Maybe I'm just not a Bergman fan, but Spellbound is heinously bad and Under Capricorn, a period drama piece, is probably the oddest film in Hitch's repertoire. Notorious, however, is a flick I'd like to watch again. I'm not sure I gave it a fair shake.
1950-1954
Stage Fright (1950) -- D
Strangers on a Train (1951) -- C
I Confess (1953) -- C
Dial M for Murder (1954) -- C-
Rear Window (1954) -- A
Wow. Talk about a slump. Starting with Under Capricorn in 1949, Hitch went zero for five for five straight years. However, his redemption with Rear Window is certainly admirable and was the start of something good.
1955-1956
To Catch a Thief (1955) -- D+
The Trouble with Harry (1955) -- C+
The Wrong Man (1956) -- B
1958-1964 -- The Apex
Vertigo (1958) -- A-
North by Northwest (1959) -- A
Psycho (1960) -- A+
Marnie (1964) -- B
Torn Curtain (1966) -- B+
Fairly amazing that starting with The Man Who Knew Too Much and for his next seven films, Hitch had not a dud to be found. The one-two-three-four punch of Vertigo, North by Northwest, Psycho, and The Birds are likely the best four movies EVER consecutively directed by a filmmaker. Just an amazing quartet of films that each have their own distinct vibe.
Then, to follow those films up with the interesting character study in Marnie and the surprisingly tense Torn Curtain is commendable as well.
1969-1976
Topaz (1969) -- C
Frenzy (1972) -- D
Family Plot (1976) -- B
Hitch's age and his stubborness to conform to new technologies is especially evident in his last films. I will say that Family Plot was much better than I remember it and certainly a decent way for Hitch to go out.
Tomorrow, I'll start the final mini-dissection looking at the films in order from worst to best.
Wednesday, November 03, 2010
Hitchcock Month - Psycho
Psycho (1960)
Starring Janet Leigh, Anthony Perkins, Vera Miles, Martin Balsam, and John Gavin
Directed by Alfred Hithcock
***SPOILERS AHEAD***
There's really not a whole lot that needs to be said in this post beyond the following:
Psycho is the best film ever made.
Truer words have never been spoken. Watching Psycho is watching a master at work. It's the epitome of a Hitchcock film with all his classic themes in place.
- The "Hitchcock Blonde" -- A phrase that's well known in this day and age, Hitch more often than not had his lead female charcters be blonde. Apparently he simply felt that women should be blonde and their male counterpart should not be. According to him, this is what audiences wanted to see and it made the characters more relatable somehow. [Blondes were more comforting somehow.] In Psycho, Marion Crane (Janet Leigh) is certainly blonde and both Norman Bates (Anthony Perkins) and Marion's beau Sam Loomis (John Gavin) are decidely not.
- Discussions over Food -- You may think it silly, but this is a Hitchcock staple. Watch his films (and I've now watched all of the "modern" ones during this fest) and at least half of them will feature discussions that take place while people were eating. While these chats are often used to humorous effect, Hitch twists that notion here and a simple conversation between Marion and Norman turns frightening quite quickly. The casualness of eating (which, let's be honest, Hitch liked to do) is toyed with often by Hitch and here it is no exception
- The Macguffin -- Hitch always wanted you to think you knew what the story was about at the very beginning of the film and then make you realize that it wasn't really about that at all. In Psycho, we certainly think that the film is about Marion Crane stealing $40,000, but obviously it isn't really about that at all. In fact, the film is really about Norman Bates' psychotic mind, but we don't even see Mr. Bates until about thirty minutes into the film.
- Voyeurism -- Although not the extent of Rear Window, we are certainly voyeurs into Marion Crane's life seeing as how the first shot after the opening credits is a peering in through a window to see her in a state of undress. And let's not forget Norman peeking in on Marion as she prepares for her shower. Of course, this voyeurism is also rooted in sexuality which is another Hitchcock staple.
- The Mom Complex -- This is obviously a big plot point in Psycho, but this notion of males having inordinately obnoxious, complicated, or overpowering mothers is always a key plot point touched upon by Hitch, especially in flicks like North by Northwest and Notorious.
I'm sure there's many more motifs repeated in Psycho that Hitch utilized in his other films, but nothing that I write can do this film any amount of justice. As I've stated before, it's a lot more difficult for me to write about films I like rather than films I hate, and that's certainly the case here.
Every time I watch Psycho, I simply can't fathom what it was like to watch this film in 1960. Heck, they weren't used to seeing toilets onscreen back then (scandalous, I know), let alone the huge twist that occurs halfway through the film.
Enough babbling from me, though. If you haven't seen Psycho in a while, be sure to check it out. If you've never seen Psycho, you don't know what you're missing.
I'll be back in the next few days with a wrap-up to this Hitchcock Month which I must say was thoroughly enjoyable for me. I'm quite pleased that I actually stuck with it.
The RyMickey Rating: A+
You can check out last year's Psycho posting here which, admittedly, is a little more fun than the above.
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