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Hitchcock: Shadow of a Genius (1999)

TV Movie  -   -  Documentary | Biography  -  13 October 1999 (USA)
7.8
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This documentary is a fascinating look at the cinematic genius of Alfred Hitchcock. Briefly covering much of his early British works, the film primarily focuses on his American classics, ... See full summary »

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Title: Hitchcock: Shadow of a Genius (TV Movie 1999)

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Joseph Stefano ...
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John Michael Hayes ...
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Alma Reville ...
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Herb Steinberg ...
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Robert E. Kapsis ...
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This documentary is a fascinating look at the cinematic genius of Alfred Hitchcock. Briefly covering much of his early British works, the film primarily focuses on his American classics, such as "Shadow of a Doubt", "Notorious", "Rear Window", "Vertigo", "Psycho" and "The Birds". The movie also covers his television years and neatly examines the Hitchcock signature touches, from his inevitable brief cameo to his famous MacGuffin. Kevin Spacey narrates, and there are interviews with his delightful daughter Pat as well as such film directors as Brian De Palma, Jonathan Demme, Curtis Hanson, Robert Altman, Ronald Neame and Peter Bogdanovich, along with cast and crew members Tippi Hedren, Joseph Stefano, Norman Lloyd, Robert F. Boyle, Teresa Wright and Janet Leigh. Written by filmfactsman

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13 October 1999 (USA)  »

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Dial H Hitchcock: The Genius Behind the Showman  »

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References The Man Who Knew Too Much (1934) See more »

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Pedantic groupthink
27 August 2000 | by (Houston, TX) – See all my reviews

Some magnificent background on early Hitchcock and marvelous seldom-seen footage gets this well-meaning documentary off on the right track for the first 40 min. The rest is a waste of time with the same old clips being shown as the same old talking heads concur one-at-a-time to what has become accepted wisdom among today's entertainment artist intelligencia. It's a shame that Billy Wilder, Stanley Kramer and other quasi-contemporaries of Hitchcock were not interviewed to provide balance -- Truffaut's adoration of Hitchcock has proven to be both a blessing and a curse because there is now a protected unified front over what Hitchcock "loved" and didn't love. For example, despite Selznicks' "interference", Rebecca is still a picture for the ages, and Suspicion was quite successful at the box office despite revisionist history. The Wrong Man was also ignored totally since it didn't fit into the thesis.


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