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 »
Cameramen and women discuss the craft and art of cinematography and of the "DP" (the director of photography), illustrating their points with clips from 100 films, from Birth of a Nation to... See full summary »
A retrospective on the entire movie, from start to finish. There are interviews with many of the principle cast and crew (including Janet Leigh and Joseph Stefano), who all talk openly and ... See full summary »
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
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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