I. Vertigo (1958)
Vertigo is probably the most “philosophical” of all Hitchcock films. Whatever angle you take (the detailed “stalking” scenes, the acting, the object symbolism, etc.), the beauty of Vertigo comes through, overwhelming the viewer. Set and shot on location in San Francisco, Vertigo is a story of obsession that focuses on Scottie Ferguson (James Stewart (Anatomy of Murder (1959)), a former detective suffering from acrophobia (an extreme fear of heights) who is tasked with following one woman by her husband – Madeleine (Kim Novak), because she might be a danger to herself. This film about mistaken identities, grief and seeking love at all costs is also a nuanced psychological thriller. I can’t say I enjoy the very slow pace of Vertigo, but it is an entrancing cinematic experience nevertheless and for a multitude of reasons deserves its number one spot.
II. Psycho (1960)
Psycho is my confident number two choice. This is a quintessential Hitchcock film with some unbelievable twists and deep psychology. Suspense is the word here. In this story, Marion Crane (Janet Leigh) steals quite a lot of money from her employer’s client and hits the road. However, she needs to rest somewhere on her way to her “financial freedom” and chooses the Bates’ Motel. You need to watch the film to know what happens there. In my review, I talked about how “Hitchcock plays expertly with its audience’s imagination and formed beliefs” in this film, that was also ground-breaking in many ways upon its release. Psycho is a the film that stood the test of time.
Continue reading “Top 10 Films from Alfred Hitchcock”
I. The Servant (1963)
Directed by Joseph Losey, The Servant is considered by some to be one of the finest British films. It tells of Tony (James Fox), a flamboyant member of the upper class, who has just moved in to his central London residence after a period spent in Africa. He immediately hires a man-servant for himself, demure, respectful and knowledgeable Hugo Barrett (Dirk Bogarde). Hugo not only knows how to cook and take care of a house, but he is also an expert interior decorator and has been a gentleman’s servant for many notable Lordships. This tale of a friction between the upstairs and the downstairs reaches the zenith of tension when Hugo introduces “his sister” (Sarah Miles) to the household and when Tony’s own fiancée (Susan Stewart) decides to make the house her own dominion. The Servant works delightfully as a satire on class differences and servitude, showing a thin line that often separates usefulness from a nuisance, and kindness from submissiveness. This tale of hidden corruption has a frightening change of dynamics.
Continue reading “Recently Watched: Films: The Servant (1963), A Kiss Before Dying (1956) & Isle of the Dead (1945)”
Virginie at The Wonderful World of Cinema and Emily at The Flapper Dame are hosting The 4th Wonderful Grace Kelly Blogathon to honour Grace Kelly, the icon of beauty and elegance. She was a terrific actress, who worked most notably with Alfred Hitchcock (see “Rear Window” (1954) and “To Catch a Thief” (1955)). In “Dial M for Murder“, Kelly is Margot Wendice, the wealthy wife of an ex professional tennis player Tony Wendice, played by Ray Milland. She is to become the centre of the plot whereby the husband hires a hitman to kill the wife. Kelly’s character (that wonderful lady in red, and then in blue) comes off as a beautiful, brave and stoic woman who wants personal happiness, and would have stolen the show completely if not for the intricate, clever and psychologically-interesting plot and the cunning personality of Tony Wendice, played brilliantly by Milland.
Dial M for Murder (1954)
You know you are in for a treat when a film you are about to see is made by Alfred Hitchcock, and “Dial M for Murder” does not deviate from this rule. In the midst of it is a cleverly-constructed plot whose entangling may cause some to pause and ponder. Hitchcock is basing his movie on a screenplay by Frederick Knott and is concerned with the proving of guilt, rather than with the usual whodunit mystery. “Dial M for Murder” starts with the blackmail and the deceit by the wife of her husband, but it ends in an unexpected area. The interesting thing about this movie is that we know from the beginning who is the (attempted) murderer, and we follow every step to the conclusion, but we are still in for some surprises. Initially that is because the murder of Margot, as planned by her husband Tony, does not exactly go according to plan. Continue reading “The 4th Wonderful Grace Kelly Blogathon: Dial M for Murder (1954)”