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 (firstname.lastname@example.org)
Portrays principal photograph and Hitchcock's office as being on Paramount Studios' backlot. In reality, as "Psycho" was the last picture the director would make under his contract with Paramount, by the time filming began his office as well as the sets had moved to his new studio: Universal. 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 »
A snapshot of Hitchcock's life and the lead up, shooting and release of Psycho.
A perfect blend of entertainment, surprisingly emotional and a delight to watch. No doubt artistic licence is used but John J. McLaughlin's script based on Stephen Rebello's book manages to mix and balance the story elements perfectly without becoming the 'making of Psycho' which remains as a backdrop. It ultimately focuses on Hitchcock's intriguing relationships with his wife, cast and crew. There's some genuine laugh-out moments and heartfelt scenes. The surreal moments including Ed Gein subtly played by Michael Wincott injects an edginess to the proceedings and gives an insight into his psyche.
Any reservations of Anthony Hopkins' casting are dispelled within a few minutes, he is absolutely superb with the make up equally as effective. Helen Mirren as Alma is on fine form giving both a powerful and touching performance. Without nitpicking on Scarlett Johansson's facial indifference to Leigh and James D'Arcy's to Anthony Perkins they capture the persona wonderfully as too does Jessica Biel as Vera Miles respectively. Notable is Toni Collette as Peggy Robertson and from Danny Huston as Whitfield Cook to Kurtwood Smith Geoffrey Shurlock there is a fine supporting cast.
Fittingly book-ended with Hopkins as Hitch breaking the fourth wall in 'Alfred Hitchcock Presents' style you can't help but smile. As satisfying as Hitchcock is it still leaves you wanting more.
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