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Hitchcock (2012)

PG-13 | | Biography, Drama | 14 December 2012 (USA)
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ON DISC
The relationship between Alfred Hitchcock and his wife Alma Reville during the filming of Psycho (1960) in 1959 is explored.

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Writers:

(screenplay), (book)
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4,279 ( 1,008)
Nominated for 1 Oscar. Another 4 wins & 28 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Joseph Stefano
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Hilton Green
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Saul Bass
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Storyline

In 1959, Alfred Hitchcock and his wife, Alma Reville, 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 (1960), 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 (kchishol@rogers.com)

Plot Summary | Add Synopsis

Taglines:

Good evening. See more »

Genres:

Biography | Drama

Motion Picture Rating (MPAA)

Rated PG-13 for some violent images, sexual content and thematic material | See all certifications »

Parents Guide:

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Details

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Release Date:

14 December 2012 (USA)  »

Also Known As:

Alfred Hitchcock and the Making of 'Psycho'  »

Box Office

Opening Weekend:

$287,715 (USA) (23 November 2012)

Gross:

$6,008,677 (USA)
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Company Credits

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Technical Specs

Runtime:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Ralph Macchio portrayed Joseph Stefano in this film. Macchio had appeared in The Outer Limits: The Other Side (1999), an episode of the remake of The Outer Limits (1963), which Stefano produced and co-wrote. See more »

Goofs

While Hitch is in the middle of a chapter of "Psycho", Alma takes the book from him. He takes it back but continues reading from the beginning of another chapter. See more »

Quotes

[first lines]
Henry Gein: It's lucky it didn't reach the house.
Ed Gein: Yeah.
Henry Gein: You know, there's gonna be a lot more jobs at that factory in Milwaukee come June. I could put in a word.
Ed Gein: You can't leave us, Henry. She needs us both.
Henry Gein: 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]
Alfred Hitchcock: Good evening. Well, brother has been killing brother since Cain and Abel, yet even I didn't ...
[...]
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Crazy Credits

After the end credits, there is a brief shot of Anthony Hopkins as Hitchcock standing in silhouette in a large empty movie theatre before walking out of the shot. This emulates Hitchcock's trademark cameo appearance in most of his films. See more »

Connections

References Family Plot (1976) See more »

Soundtracks

Symphony No. 3 in E Flat Major 'Eroica' Op. 55: Scherzo Allegro Vivace
Written by Ludwig van Beethoven
Courtesy of Crucial Music Corporation & Point Classics
Arranged by Jim Long
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Frequently Asked Questions

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User Reviews

 
Calamitous for Hitchcock fans
20 February 2013 | by (United States) – See all my reviews

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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