Alfred Hitchcock’s Vertigo screens at St. Louis’ fabulous Hi-Pointe Theater this weekend as part of their Classic Film Series. It’s Saturday, March 11th at 10:30am at the Hi-Pointe located at 1005 McCausland Ave., St. Louis, Mo 63117. The film will be introduced by Harry Hamm, movie reviewer for Kmox. Admission is only $5
This gives us a perfect excuse to re-run this top ten list so here, according to We Are Movie Geeks, are Alfred Hitchcock’s ten best films:
Frenzy, Hitchcock’s next to last feature film from 1972, represented a homecoming of sorts since it was the first film completely shot in his native England since his silents and early ” talkies ” in the 1930’s. By dipping into the then somewhat new territory of serial killers, he took full advantage of the new cinema freedoms and truly earned his ‘ R ‘ MPAA rating.
It may seem like Alfred Hitchcock’s 1940 murder mystery, Rebecca, is nothing more than a story about a jealous woman succumbing to her insecurities, but the truth is that Hitchcock wasn’t just a master of suspense—he was also the master of subtly injecting deeper layers of meaning into his movies. Yes, it’s true that the second Mrs. de Winter lets her obsession with her husband’s first spouse take over her life, but there’s something else at work here. It isn’t just envy that drives the second Mrs. de Winter mad, as in addition to her identity issues,
The Birds screens at Schlafly Bottleworks (7260 Southwest Ave.- at Manchester – Maplewood, Mo 63143) Thursday, April 2nd at 7pm. It is a benefit for Helping Kids Together (more details about this event can be found Here)
This gives us a perfect excuse to re-run this top ten list from March of 2012. Alfred Hitchcock directed 54 feature films between 1925 and 1976, and here, according to We Are Movie Geeks, are his ten best:
Frenzy, Hitchcock’s next to last feature film from 1972, represented a homecoming of sorts since it was the first film completely shot in his native England since his silents and early ” talkies ” in the 1930’s. By dipping into the then somewhat new territory of serial killers, he took full advantage of the new cinema freedoms and truly earned his ‘ R ‘ MPAA rating. Perhaps ole’ ” Hitch ” wanted to give those young up-and-coming
Hitchcock's 1940 psychological thriller, winner of two Oscars, stars Laurence Olivier as the aristocratic widower 'Maxim de Winter', Joan Fontaine as his second wife, and Judith Anderson as psychotic housekeeper, 'Mrs. Danvers':
"...in 'Rebecca', the heroine (Fontaine) is a paid companion to the wealthy but obnoxious 'Edythe Van Hopper' (Florence Bates), when she meets widower 'Maximilian de Winter' (Olivier) in Monte Carlo. They fall in love, and within two weeks they are married.
"Maxim takes his new bride to 'Manderley', his country house in Cornwall, England. The housekeeper, 'Mrs. Danvers' (Judith Anderson), is domineering and cold, and is obsessed with the great beauty, intelligence and sophistication of the first 'Mrs. de Winter', aka 'Rebecca', preserving her former bedroom as a shrine.
I got the kind of surprise that felt right at home regarding the Daphne Du Maurier novel that started this whole chain of thought. First, I learned that Bates was a native Texan. But that was just the beginning.
Through various internet rabbit holes I eventually found an article about Florence Bates from Handbook of Texas Online,
"Last night I dreamt I went to Manderley again …"
Everyone who loves film knows the opening words of Rebecca, that astonishing mixture of emotional hothouse and freezer that was Hitchcock's first American film, made for David O Selznick and released in 1940. But for all the portent of that opening voiceover, or the symbolic drama of the great Cornish mansion burning down as the film ends, it's not about a place. It's not really a thriller, either, in any meaningful sense – despite the suspense of the closing reel.
Rebecca is a film about abusive relationships, and the way power might shift within them – and, most unusually, even for its time – its hero is the worst of the abusers. The romantic might view Laurence Olivier
In Rebecca, Joan Fontaine is heartbreaking and hilarious as a twitchy waste of space with no personality, no self-esteem, no money, no friends and a cracking Electra complex.
Adapted from the Daphne du Maurier novel, Rebecca won the 1940 Oscar for best picture and preserves the novel's famous first line: "Last night I dreamt I went to Manderley again". Hitchcock lifts the story out of du Maurier's dark, obsessive claustrophobia and presents a riveting satire about the toxicity of the gentility. Fontaine's character has married widower Maxim de Winter and moved to his ancestral home. She stumbles around Manderley like a temp on her first day at an investment bank, mortified, confused, intimidated by the legacy of her predecessor, Maxim's first wife, Rebecca, who's said to have died in a boating accident.
There are vivid female
Directed by Alfred Hitchcock
Screenplay by Robert E. Sherwood
The inspiration to write about Rebecca and how it treats its female character came after reading a fascinating article from a fellow Sound on Sight contributor, Cath Murphy, who earlier this month wrote The Trouble With Hitchcock, which explored the clues to the director’s possible misogynistic tendencies. It was a great read and in no way is the current article meant to serve specifically as a rebuttal post.
When asked to name a few of the terrific thespians which graced the screen for Alfred Hitchcock during the director’s illustrious career, John Stewart, Cary Grant, Gregory Peck and Laurence Olivier are
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