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 arrives at the Paramount lot in 1959, water tower in background bears stylized studio logo not introduced until years later. 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 ...
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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 »
Marketed as an amuse-bouche blending Hitchcock's macabre humor with the making of 'Psycho', inspired by Stephen Rebello's fine 1990's book, it veers off course as it tackles the marriage of Alfie and Alma Hitchcock, his wife and collaborator. Daughter Pat has disappeared from the story altogether; kicked to the sidelines are Bernard Herrmann, Hilton Green, Rita Riggs, John Gavin, Universal, Revue Studios, and, notably, the Bates Motel and the brooding Victorian behind it, one of the most famous still-standing sets in Hollywood. Hitchcock's restless artistry, his challenge to late-50's mores, his pre-production design and planning process, and the almost accidental genius of the final product, now widely regarded as one of the great American movies, are abandoned in favor of Ed Gein fantasies and dull scenes of marital discord. A too-old Ralph Macchio plays Tony Stefano, whose script is entirely rewritten by Alma (which didn't happen): the genius of Stefano inspired Hitchcock to smash barriers (e.g.: the showing of the toilet was Stefano's idea). A few seconds of audience mayhem near the end approaches the reality of the era; otherwise a dull mess, brimming with lies.
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