AN EXCELLENT FORMULA!

THE HITCHCOCK VILLAINS

This is my contribution to Maddy's 4th Annual Alfred Hitchcock blogathon, click here to learn more...

In 1962, French film director/critic Francois Truffaut spent a week sequestered at Universal Studios with Alfred Hitchcock, a filmmaker he admired extravagantly. There, the two explored each of Hitchcock’s films to date in detail. Discussing Stage Fright (1950), one of his lesser films, Hitchcock remarked, “The greatest weakness of the picture is that it breaks an unwritten law: The more successful the villain, the more successful the picture. That’s a cardinal rule, and in this picture the villain was a flop!” Truffaut was delighted, “The better the villain, the better the picture,” he exclaimed, “that’s an excellent formula!”

Is it? Let’s take a closer look at the villains in some of Hitchcock’s best films.

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GOING (to) PSYCHO AGAIN

50 years ago, I saw Alfred Hitchcock's Psycho for the first time. It was 1965 and though the film was originally released in 1960, its immense popularity led to a re-issue five years later. Thankfully, by 1965 my parents considered me old enough, and so one spring evening I ventured with friends to the Ritz Theatre in Escondido, California, to see it. Odd as it may sound, somehow I wasn't aware of every twist and turn in the plot or the shocking finale by then. Which must be why, after barely getting through Marion Crane's brutal demise, I let out a spontaneous, ear-splitting scream when "Mrs. Bates," knife in hand, ambushed Mr. Arbogast on the staircase. Later on, like so many others, I left the movie house completely unnerved and with a newly acquired skittishness about taking showers...

Three (Mesmerizing) Hitchcock Villains Revisited on Halloween

Today (and today only) our friend Lara of Backlots is hosting a one day Hitchcock Halloween blogathon and for the occasion I'm resurrecting an old favorite from the Reel Life archives.

In January 2011 the Classic Movie Blog Association hosted a Hitchcock blogathon and I decided rather than blog about a particular film, I'd take another approach. The result was an exploration of three legendary Hitchcock killers and the actors who portrayed them: Joseph Cotten's Uncle Charlie in Shadow of a Doubt (1943), Robert Walker's Bruno Antony in Strangers on a Train (1951) and Anthony Perkins's Norman Bates in Psycho (1960). I was and still am fascinated by the complex characters of Uncle Charlie, Bruno and Norman - and with the masterful performances of the three daring actors who took their turns as what film critic/historian David Thomson calls Hitchcock's "smiling psychopaths."

Click here to read Three Classic Hitchcock Killers.

For links to Lara's blog and and more on Hitchcock Halloween, click here.

Hitchcock Week...and more...at the San Francisco Symphony

Just over two years ago I attended – and was astounded by - “Casablanca with the San Francisco Symphony” at Davies Hall. Conductor Michael Francis led the orchestra in accompanying the beyond-iconic classic with Max Steiner’s unforgettable score. What an experience it was (click here for my reaction)...

Now the symphony is about to present a Halloween season series, Hitchcock Week, spotlighting several of the Master’s films with live musical accompaniment. The pièce de résistance will be “World Premiere: Vertigo” on Friday, November 1, with the symphony accompanying Hitchcock’s great masterpiece with Bernard Herrmann’s brilliant, haunting and, some would say, peerless score.

Woody Allen, Master of Suspense?

This post is my contribution to The Best Hitchcock Films Hitchcock Never Made blogathon hosted by Tales of the Easily Distracted and Classic Becky's Brain Food. Click here for more information and links to participating blogs.

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On the face of it, the only thing Alfred Hitchcock and Woody Allen seem to have in common is the distinction of being aknowledged as preeminent auteurs. As Michael Newton put it in The Guardian earlier this year, "Along with Alfred Hitchcock, Allen must be the most recognizable director in the history of cinema."

THREE CLASSIC HITCHCOCK KILLERS

Alfred Hitchcock once remarked that, “in the old days villains had moustaches and kicked the dog.”  He resisted such clichés, preferring a different kind of heavy, the sort he called “an ordinary human being with failings.”  The director also said, referring to his own work, “the more successful the villain, the more successful the picture,” and though this was not always the case, it held true for some of his best films.

 Three villains who reflect his preferences and support his contention come quickly to mind:

• Charles Oakley, the “Merry Widow” killer in Shadow of a Doubt (1943)
• Bruno Antony, the “Criss Cross” strangler of Strangers on a Train (1951)
• Norman Bates, the identity-challenged slayer in Psycho (1960)

Shadow of a Doubt: Teresa Wright and Joseph Cotten