A working mother puts herself through law school in an effort to represent her brother, who has been wrongfully convicted of murder and has exhausted his chances to appeal his conviction through public defenders.
In 1959, Alfred Hitchcock and his wife, Alma, are at the top of their creative game as filmmakers amid disquieting insinuations about it being time to retire. To recapture his youth's artistic daring, Alfred decides his next film will adapt the lurid horror novel, Psycho, over everyone's misgivings. Unfortunately, as Alfred self-finances and labors on this film, Alma finally loses patience with his roving eye and controlling habits with his actresses. When an ambitious friend lures her to collaborate on a work of their own, the resulting marital tension colors Alfred's work even as the novel's inspiration haunts his dreams. Written by
Kenneth Chisholm (email@example.com)
When Hitchcock is being driven home by Janet Leigh, when she questions his eating of the candy corn (which is not as posh and refined as his usual taste), he says "needs must when the devil drives". This is an old British phrase used in several William Shakespeare plays that means when one is in a desperate situation, one must do things they don't normally do. This line and scene are meant to imply that he is agitated and his mental state is not what it normally is. See more »
At two occasions we see the famous Bates Mansion in the background, facing the right side of the house, opposite of how it appears in 'Psycho'. Originally the house was constructed with only 2 walls - the left and front facade. See more »
It's lucky it didn't reach the house.
You know, there's gonna be a lot more jobs at that factory in Milwaukee come June. I could put in a word.
You can't leave us, Henry. She needs us both.
Can you stop being a mama's boy for one second? I'm not trying to hurt you, but Jesus, you gotta live your own life sometime. That woman can take care of her own god...
[Ed hits Henry with a shovel]
Good evening. Well, brother has been killing brother since Cain and Abel, yet even I didn't ...
[...] See more »
After the credits, there is a brief shot of Anthony Hopkins as Hitchcock standing in profile in front of an empty screening room. See more »
The REAL Hitchcock buffs will be disappointed, in that this movie does not delve deeply into the mind of this brilliant, creative filmmaker. It deals with the superficialities of his existence, and not the big issues of, for example, what propelled his interest in the Wisconsin serial murderer Ed Gein? Was this interest tied to his pursuit of his 'blonde girls?' The dark side of his personality was shown through his hallucinatory 'relationship' to Mr. Gein--who pops up occasionally--and could be considered a clever device; I thought it a cop-out.
As another reviewer on this board wrote, the most enjoyable parts of the movie revolved around the casting, writing, filming and editing of "Psycho." Jessica Biel and Scarlet Johanssen were adequate, if not inspired; Helen Mirren was the movie's anchor, while Anthony Hopkins seemed to be trying too hard, and I was always conscious of him 'acting.'
BUT, as noted earlier, it moves along and is enjoyable. Just don't expect too much.
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