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)
Portrays principal photography and Alfred 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 end credits, there is a brief shot of Anthony Hopkins as Hitchcock standing in profile in a large empty movie theatre. See more »
"That blonde woman of mystery you're after. She's a fantasy. She doesn't exist." Vera Miles (Jessica Biel) to Alfred Hitchcock
A chance that the representation of the eccentric Alfred Hitchcock would be just caricature is high, given his odd appearance, distinctive speech, and off-center personality. Fortunately Anthony Hopkins imitates him enough to be a believably historical character and to invest his own forceful personality.
Hitchcock is a satisfying glimpse into the genius's marriage to Alma (Helen Mirren) and the creation of his greatest screen triumph, Psycho. The unreality is Mirren's glamorous; Alma was plain.
Because of Hitchcock's mid-20th century appearances on his TV show, he may be more recognizable, even now, than Steven Spielberg. Anthony Hopkins and director Sacha Gervasi stay close to the facts as I know them, from his preoccupation with blonde leading ladies to his reliance on Alma's advice about actors, scripts, and edits.
The shenanigans surrounding the censorship of the shower scene in Psycho and the multiple cuts (so to speak!) that make it iconic are faithfully presented. Lessons can be learned about the power of the early censoring agency and the details like nudity and plunging a dagger into a woman that could keep a film out of the theaters. That week to complete the shower scene is an effective primer for those who don't understand the patience necessary to make a classic film.
New to my understanding of the director is his affection for Alma, almost tearful on our side and his, and the civil way he treated Janet Leigh. No need to show his callous treatment of The Birds' Tippi Hedrin, whose career he shortened when she refused his advances.
Let me close by saying a kind word about Helen Mirren as long-suffering AlmaMirren plays her for an intelligent forgiving companion with her own emotional needs partially fulfilled by writer Whitfield Cook (Danny Huston), who obviously loves her but gets no chance to make love to her.
As for the film itself, it's less a love letter to the director than a depiction of a gifted man who became the master of suspense not without his own measure of personal drama:
"And so, gentle viewer, Psychothe picture everyone predicted would bring me to wreck and ruinwas such a hit that Alma and I got to . . . Well, let's just say that we got to keep our houseand the swimming pool. And the same critics who despised it went on to call it one of my greatest achievements. Of course, for me, it was just another "moo-vie.'" Hitchcock
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