Hitchcockian Movies : The Best Hitchcockian movies not directed by Alfred Hitchcock.by KyaBakwaasHai | created - 07 Nov 2014 | updated - 29 Oct 2018 | Public
Includes Movies with Hitchcockian Elements, not directed by Hitchcock himself.
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Doesn't include Remakes like The Lodger 1944 The Lady Vanishes 1979 A Perfect Murder 1998 (Dial M for Murder remake) Psycho 1998 Rear Window 1998
also Doesn't Include Parody Movies Like High Anxiety 1977
also Doesn't Includes Sequels like Psycho 2 1983 Psycho 3 1986 Bates Motel 1987 Psycho 4 1990 The Birds II: Land's End 1994
also Doesn't movies Spun off from The Lady Vanishes like Night Train to Munich 1940 Crook's Tour 1941
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1. Charade (1963)
Passed | 113 min | Comedy, Mystery, Romance
Romance and suspense ensue in Paris as a woman is pursued by several men who want a fortune her murdered husband had stolen. Whom can she trust?
Votes: 69,289 | Gross: $13.47M
To say a suspense thriller bares the mark of The Master is as superfluous as saying one’s reading lamp owes a debt of gratitude to Edison. Yet, Stanley Donen’s 1969 “Charade” bares such a resemblance to an Alfred Hitchcock film as to be grounds for identity infringement, if such a thing existed. In fact, many filmgoers are often surprised to find out “Charade” wasn’t directed by him.
That said – this joyfully entertaining ride with the gorgeous Audrey Hepburn and the wickedly funny Cary Grant is not to be missed. With Henry Mancini’s wonderful score, the inventive animated opening title sequence by Maurice Binder, plus the wonderful Paris locations to perfectly set the mood for romance and danger, this mysterious tale of a murdered husband, missing gold and the rogue C.I.A. agents who think Audrey Hepburn has it is as perfect a Hitchcock film as one can watch without The Master having anything to do with its creation.
It was North By Northwest, which Cary Grant starred in 4 years earlier, that Stanley Donen had in mind when he decided to make a film based on Peter Stone's screenplay. He admired the film and the dialog and the whole concept of events unfolding as a result of mistaken identity or mistaken assumptions. Stone's screenplay had all of the elements of suspense and plot twists...all Donen had to do was introduce the element of wit and romance to pull of his hat tip to Hitchcock.
2. Le Boucher (1970)
GP | 93 min | Drama, Thriller
An unlikely friendship between a dour, working class butcher and a repressed schoolteacher coincides with a grisly series of Ripper-type murders in a provincial French town.
Votes: 7,753 | Gross: $0.47M
This is one of the only two films that Alfred Hitchcock wished he had made. Claude Chabrol was known as the "French Hitchcock," and "Le Boucher" was considered by many to be his masterpiece. This is a sort of Hitchcock style is he / isn't he a serial killer - thriller set in the stunning Perigord area of France.
They're several Hitchcockian themes in the film that keep repeating throughout its story. Smoking is one of the major themes that gets brought up again and again, and interestingly enough we never see Popaul smoking unless Helene decides to light up. Another Hitchcockian visual look is of the protoganist that plays Miss Helene. She is played by actress Stéphane Audranis who married the director Claude Chabrol in 1964, after a short marriage to the French actor Jean-Louis Trintignant. Her blond hair, is purposely shown many times from behind, one particular moment the camera actually zooms in, as she presents a look very similar to Hitchcock's actress Tippi Hedren. The way Popaul admires and watches Helene can be a similar parallel to the way director Hitchcock obsessed and molded his particular actresses that he worked with throughout his career. Another theme is Popaul's face admiring Helene, always watching her, most famously his face being seen in the frame of the classroom window. The first time that scene occurs it is looked at as slightly childish and humorous, the second time near the conclusion of the film, it gives off a voyeuristic and disturbing feel. Church bells ringing are another theme that is repeatedly heard throughout the soundtrack of the film, which can look at as a metaphor of time slowly running out between the two fatal characters.
3. Diabolique (1955)
Not Rated | 117 min | Crime, Drama, Horror
The wife and mistress of a loathed school principal plan to murder him with what they believe is the perfect alibi.
Henri-Georges Clouzot’s Les Diaboliques (1955) is often referred to as “the greatest Hitchcock thriller that Hitchcock didn’t direct.” One Hollywood folktale has Hitchcock scrambling to secure the rights to its source novel, Celle qui n’était plus (She Who Was No More), only to be beaten out by the Clouzot by mere hours. Another version asserts that Hitch missed out on the Boileau-Narcejac novel because of his tight purse strings. Whichever (if either) version of the story is true, many continue to believe that while Clouzot created a masterwork of suspense cinema, we have been denied Hitchcock’s masterpiece. Clouzot himself seemed to know that he had snatched something special from the jaws of the master, as he paid homage to the master – while at the same time offering him inspiration.
Hitchcock was so taken with the film that he was known to own a print. He reportedly held multiple screenings of the film, especially when preparing production for his own masterpiece, Psycho. He even lifted two of the film’s most famous marketing gimmicks. Theaters would not to admit anyone after Les Diaboliques had started, and the film’s final title cards urge theater goers not to “be devils” and divulge any information about the film’s twists and turns, Hitchcock’s ad campaign for Psycho revolved around these two premises. Shortly after Les Diaboliques’ release, Hitchcock would secure the rights to another Boileau-Narcejac novel – D’Entre les Morts. He would move the story from the streets of Paris to San Francisco and re-title it Vertigo.
4. Dark Passage (1947)
Passed | 106 min | Film-Noir, Thriller
A man convicted of murdering his wife escapes from prison and works with a woman to try and prove his innocence.
It's regrettable that Hitchcock and Bogart, two icons on their respective fields and of the same generation (they were born the same year), never collaborated. Was Hitchcock too protective of his aura not to let Bogie steal his thunder, or was the opposite? I do believe that a Hitch-and-Bogie movie wouldn't have been as inconceivable as having John Wayne in a musical, for there is at least one Bogart movie that proves me right, a film with something Hitchcockian about his character, Vincent Parry, whose face is only revealed at the third act, but I'll get to that later.
Yes indeed, "Dark Passage" is either full of reminiscences or premonitions of what would become Hitch's instantly recognizable trademarks, plot and style-wise. It's a paranoid thriller enrobed with a restrained romance finally blooming when approaching the finale, it's a suspenseful drama where everyone is a suspect from the mind of the wrongly suspected one, it's a tale of false identities and real assassins, it's one of the most memorable movies set in San Francisco and it's the third starring the legendary Bogart and Bacall duo. Yet, for once, the fascination doesn't rely on their undeniable chemistry (that mostly showed through Howard Hawks' movies) but on these little details that will remind you of Hitch's classic, so let's start the count.
1/ THE WRONG MAN / SUSPICION / NORTH BY NORTHWEST: The false identity or the wrongly accused man is a common source of thrills in Hitch movies: a generally harmless man taken for a dangerous criminal, especially when every friend he visits meets with an unfortunate accident… that's a premise, banal to say the least, but it gets spiced up when the hero's only way to prove his innocence is risking his life and dirtying his hands. In "Dark Passage", Parry said farewell to Irene (Bacall) but his honor forces him to come back when her life's threatened by a blackmailer, just like in "North by Northwest" when Thornhill is free but learns that Eve is still in danger. There's always the moment where the protagonists turn from passive to heroic, many Bogart characters show their nobility at the end of the film, like many Hitchcock heroes… in other words, they're late-bloomers.
2/ PSYCHO : The film was released with the Red Scare as political backdrop, it failed at the box-office after Bogart and Bacall retracted their protest actions and ended up testifying before the HUAC, but it's nonetheless a film of its era : dark, suspicious and paranoid. On that last aspect, "Dark Passgae" is a showcase of how paranoia can be conveyed by good writing and film-making, like Marion Crane, after she stole the money in "Psycho", every encounter is startling and unsettling, the less she wants to talk, the more talkative people get, the less suspicious she tries not to, the more she looks, exactly what Vincent goes through during the film. A man asking for a match, a cab driver too much questions, leading him to a plastic surgeon, but it could've been a police office as well … and speaking of cops, the dialog where a new-faced Vincent tries to outsmart a detective is pure example of verbal suspense. Action is an easy catalysis for thrills but to make it through dialogs is pure virtuosity.
3/ VERTIGO: Perhaps after "Vertigo", this is the only film where I saw relevance for it being set in San Francisco (not just for a car chase scene). The local touch is significant to the plot; not just some screenplay blank filler, like the scene where an exhausted Vincent climbs the interminable stairs to go to Irene's house on the highest side of that bumpy town, or how about his fist-fight near the Golden Gate. While it's easily forgettable that "Maltese Falcon" was set in San Francisco, it's rather impossible with "Dark Passage".
4/ REAR WINDOW / VERTIGO : The fall of Madge (Agnes Moorehead) out of the window looks exactly like Jeff's fall at the climax of "Rear Window" and it's more convincing, too, but it's also closer to those from "Vertigo" ... with the obligatory shrill female scream, naturally.
5/ SPELLBOUND : And lastly, there's this brilliant piece of surrealism during the face transformation sequence, working like an original and creatively designed parenthesis and a great transition between the first third of the film (subjective camera) and the second (Bogart's face covered with bandages), a sort of kaleidoscope of all the characters confusingly interacting in Vincent's mind… who's with him? who's against him? This is not Dali with his eyes and scissors, but it's mesmerizing nonetheless. Isn't the mark of a great movie to blow your mind, just when you think you had enough… with the long overuse of the subjective camera?
Speaking of the subjective camera, isn't that something to have one third of the film without showing Bogart's face (for obvious reasons) and the second third in bandages. That's the kind of audience-fooling, tricks Hitch loved to do, he who deprived his audience from Marion Carne all through "Psycho" second half, Delmer Daves deprives us from Bogie's face all through the first (and more) but we don't lose much since the film is rich in great supporting performances notably, from Houseley Stevenson as the wacky (in a spooky way) mad-scientist, to Agnes Moorehead whose interplays with Bogart almost overshadowed the romantic interludes with Bacall.
Especially the surgery scene is quite demented. Bogie goes under the knife and sees (or imagines) multiple dissolves and triple exposures of the odd doctor, with a distant Bacall at the center. Its a nightmarish sequence, something out of Hitchcock.
5. Niagara (1953)
Not Rated | 92 min | Film-Noir, Thriller
As two couples are visiting Niagara Falls, tensions between one wife and her husband reach the level of murder.
From one superstar to the other. Who doesn't want to see Marilyn Monroe in a Hitchcock Movie? Well, this is the best one could get.
Vertigo is one Hitchcock movie that has influenced dozens of other movies. But what if someone told you it had a huge influence of NIagara on itself! Many people will, no doubt, experience a certain sense of deja vu as they watch some passages in this movie as it contains a number of similarities to Alfred Hitchcock's "Vertigo". The most striking ones are the presence of a blonde femme fatale, an obsessed male, the significance of bell towers to the plots and the prominent use of some very memorable location shots. The positions in which the dead bodies in the bell towers lie is also virtually identical. The fact that "Niagara" predated "Vertigo" by some years, leads to the view that Hitchcock must have been profoundly influenced by many of the elements of Hathaway's movie.
If there is any noir film that holds it noir gloom even though shot largely in daylight, not in a city, and in vivid color, Niagara is it. There are a handful of color noir films, not including some from the 1970s and later that get swept into the category in an expansive but not always helpful way (Chinatown, for one). But this is the real deal, and it's not a perfect film by any means, but it's also a neglected movie, valuable for it's unique feel, for the terrific night scenes it does have, and for the Niagara Falls, which Hitchcock was probably jealous of. There are lots of Hitchcock parallels--famous landmark for a setting, stereotypes played both ways, calm before the disaster, undisguised back projection and its confession of open artifice, innocents caught in a murderous world--but it it's better to see what this movie has on its own terms.
One thing Niagara has is Marilyn Monroe playing Rose Loomis. Monroe the actress is forced (or reinforced) into her recurring role as helpless siren, but she also shows off as the actress she always was, not brilliant, but very effective and smart. The disdain she has in a momentary sneer as she rolls over the second time in bed in her first scene is the first of a thousand good examples--listen to her in the shower backlit, or watch her at the souvenir shop, or on the phone. With a number of adjustments, her role here could have created a paradigm for the two-faced femme-fatale in the 1950s Hitchcock Movies--her coy chill, her thinly disguised greed, her human failings. We never mind sympathizing with a criminal when she is going down at the end if she has earlier shown her complexity and vulnerability.
6. Sudden Fear (1952)
Approved | 110 min | Film-Noir, Thriller
After an ambitious actor insinuates himself into the life of a wealthy middle-aged playwright and marries her, he plots with his mistress to murder her.
When I have recently viewed this wonderful film noir, I felt it was the right time because I had already got to know the greatest films of the genre, not superior ones but similar ones. What I mean by that are the films directed by the master of suspense, Alfred Hitchcock. When seeing SUDDEN FEAR, you had better be acquainted with some of Hitchcock's best films because then, you may realize that SUDDEN FEAR has so much in common with the gem of noir. It's Hitchcock's fertile theme and Miller's stylish bravura. From the characters, objects, undertones, certain details, doom-filled atmosphere to the unique charm of San Francisco and the utterance that seems to be the core of Hitchcock's suspense: "This place is so perfect for an accident." Let me broaden some aspects of David Miller's picture which make us see it as one of the greatest representatives of its genre in the purest form.
The TORMENTED LEADING CHARACTER, Myra Hudson played brilliantly by Joan Crawford, highlights something truly ahead of its time. As an executive producer of SUDDEN FEAR, Ms Crawford allows viewers to get into her inner psyche and provokes a progressive approach: we psychoanalyze her as a character! Nothing like a linear storytelling, forget it! Yet, something that talks about a psychological world. We psychoanalyze her 'professional eye' in the theater scene, her coldness melted on a train at the match game that becomes as mysterious as the manipulative flirts, her 'blind confidence' in wedding Lester, the seeds of doubt that are being slowly planted from the moment he does not answer her phone. As a matter of fact, this is a purely genius scene when viewers-observers, unlike Myra herself, are granted a signal: "something is wrong about him." As a result, we differ from Myra, we feel suspicion earlier than her and, consequently, wait for her disillusion. When the unbelievable shock comes in her library and she confronts the reality, her behavior is utterly unpredictable: she does not resort to a state of blending fantasy with reality but remains cold and disguised both to us and to the people around her. In that respect, isn't she a typical Hitchcock's leading lady? Apart from one difference - she is not a blonde. Nominated for Oscar, Joan Crawford offers us a pure masterwork of acting.
JACK PALANCE, who replaces Ms Crawford's initial wish of casting Marlon Brando or Clark Gable, is truly surprising as a leading man. The fact we are not used to him in such a highlighted performance that combines a doe-eyed romanticist with a secret fox makes the effect even more memorable. An important fact here to state is that Lester is equally appealing in the psychoanalyzing approach as Myra. His pretense at the beginning, his patronizing behavior on the train, his look at hands, and his gradual 'promotion' in Myra's eyes beautifully depict an ambitious type. Later, his vitality and efforts are, somehow, focused on two women: Myra and Irene. When Myra begins to be his object of wealth's desire, Irene becomes his object of lust's desire. She is a 'blonde of lust.' Their scheme is a realization of their sexuality - something very Hitchcock-like where crime goes with sex. "Kiss me hard..." Note the love scene at the fireplace in the summerhouse and the way it is shot. Oscar nominated for Best Supporting Actor, Jack Palance appears to give a performance beyond our expectations.
7. One of My Wives Is Missing (1976 TV Movie)
93 min | Thriller
Daniel Corban's wife Elizabeth disappeared after they had a fight. Then she shows up, yet he insists that the woman isn't actually his wife.
Written by "Charade" writer Peter Stone, this movie will keep you testing on "What is going on" theories till the end. The Story goes like: When a man calls the police to report his wife missing, nobody is overly concerned. Even when a reluctant Inspector Levine (Jack Klugman) finally drives out to get Daniel Corban's (James Franciscus) statement about how his wife drove off after an argument and hasn't returned since, Levine still maintains that Corban shouldn't worry, she'll probably reappear soon enough. And he appears to be proved right when the local priest, Father Kelleher (Joel Fabiani) visits Corban and tells him his wife wants to come back - but as soon as Elizabeth (Elizabeth Ashley) walks through the door, Corban insists that this woman is NOT his wife! And that's just the very beginning of the movie.
Now Corban tries to prove to Levine and Kelleher that the woman is an impostor, while Elizabeth tries to convince them that her husband is disturbed and potentially in need of psychiatric help. It is up to Levine to find out the truth.
The mystery is extremely well crafted and full of plot twists, until the viewer can no longer be sure as to who is doing what to whom and why. At the same time, it has a great sense of humor, exploring the absurdly comical side of the situation as well as the mystery. Especially Levine has a lot of funny lines, and it is hilarious to watch the couple arguing over whether she is or isn't his wife in front of a rather puzzled-looking Kelleher and Levine as spectators to the domestic drama.
Adapted from a stage play, the teleplay is excellent. The casting is great, and so is the acting. A true masterpiece of hitchcockian elements. If you get a chance, you should definitely watch it! Every once in a while you might catch it on TV. It's around on VHS, and it's also on youtube.
8. Dressed to Kill (1980)
R | 104 min | Crime, Drama, Mystery
A mysterious blonde woman kills one of a psychiatrist's patients, and then goes after the high-class call girl who witnessed the murder.
Votes: 35,796 | Gross: $31.90M
Brian De Palma is known to be an Admirer of hitchcock, and it shows in his movies. This is his movie that is closest to Hitchcock.
This is pure Hitchcock with an 80's dash of lurid perversion, an affectionately told tale of lust and murder with plenty of twists, huge helpings of style, a stunning Pino Donaggio score, and a trashy, giallo-inspired plot.
The Movie's start reminds of Vertigo, and the Hitchcockian touch remains till the end of the movie.
De Palma literally lifts parts of Vertigo (1958) for Dressed to Kill's infamous museum scene. Dressed to Kill's shower scenes, as well as its villain and method of death have similarities to Psycho (1960). De Palma also employs a prominent score with recurrent motifs in the style of Hitchcock's favorite composer Bernard Herrmann. The similarities do not end there.
But De Palma, whether by accident or skill, manages to make an oblique turn from, or perhaps transcend, his influence, with Dressed to Kill having an attitude, structure and flow that has been influential. Maybe partially because of this influence, Dressed to Kill is also deeply flawed when viewed at this point in time. Countless subsequent directors have taken their Hitchcock-like De Palma and honed it, improving nearly every element, so that watched now, after 35 years' worth of influenced thrillers, much of Dressed to Kill seems agonizingly paced, structurally clunky and plot-wise inept. But always remember this is what started it all.
9. Wait Until Dark (1967)
Not Rated | 108 min | Thriller
A recently blinded woman is terrorized by a trio of thugs while they search for a heroin-stuffed doll they believe is in her apartment.
Votes: 27,852 | Gross: $17.55M
Critic Rex Reed huffed and puffed that “If Hitchcock could only laugh at himself, this is the movie he’d make.”
This is the Second Audrey Hepburn movie on the List. Let me remind you, audrey never worked with Hitchcock, so this and Charade are the closest you'll get to see her in a Hitchcock movie..
"The best Hitchcock film that Hitchcock never made". It think that is very true. Most of the film is shot within this basement apartment unit. And the thriller is so great because of Hepburn being blind and these three bad guys freely walking into her unit and introducing themselves as her husband's friends, or police, or some neighbour. But they all forget one thing: She uses her ears like no regular person does, she doesn't need eyes. But that is where the thriller kicks in. Sometimes it is pretty painful for us to watch (us who can see) because she seems so vulnerable. Wrapping around of all this is Henry Mancini's music. He is using a technique that he also used in the film "Night Visitor" where there is this melody on the keyboard and after everynote there is the detuned note following it. Pretty cool effect.
These slow, intricate developments are fascinating to watch but most importantly, lead to a climatic ending reaching Hitchcock levels of suspense. As the title of the film suggests, you really have to wait until dark to fully appreciate how well made this film is.
The fact is, that this could so very easily have become a very mediocre 'stage play to film' adaptation. What makes it that little bit special is very hard to pinpoint. Perhaps it's because it's NOT a Hitchcock, but could so very easily have been. One can only ponder how the master of suspense himself could have improved this gem of film?
4 Major Points that literally shouts of Hitchcock influence are :- First, we have the doll. This is a classic "MacGuffin" in the Hitchcock tradition. A MacGuffin is an object on which the plot hangs, which drives the characters' actions. It could be anything -- a box of chocolates with diamonds inside, a slip of paper with incriminating evidence -- it doesn't matter what the item is that pushes the story along, and indeed we don't know what the doll contains until the last couple of reels -- precisely because it is inconsequential to the workings of the film.
Second, we have the central suspense-building technique of the film, which is that the audience knows what is going on while the protagonist does not. The blindness of the central character affords wide latitude in exploiting this idea. It is a technique often used by Hitch to manipulate the audience, memorably for example in Sabotage and Rope, to name only two. It works here to great effect.
Third, there is really only one "jump out and say boo!" moment in the movie and it is extraordinarily well-timed. After the suspense has been built to a fever pitch and artificially deflated there is an almost cathartic moment of leap-out-of-your-seat-and-scream shock before the last suspenseful moments. Compare it to Psycho, for example, and the final moments in the basement in that picture -- a similar effect on the audience.
Fourth, the criminals' plot is a little too involved to be realistic. But like the doll it exists only to produce suspense in the audience. On this level it richly succeeds. Hitchcock by and large dismissed credibility as key to a plot (read Hitchcock/Truffaut for many interesting thoughts on this). If the film is to engage the suspense of the audience on a cinematic level, to such an extent that they suspend their disbelief, the plot's purpose is to provide a framework in which this can occur. Again, the picture works on this level.
Fans of this will also like: "Rear Window,"(1954) "Memento," (2000) and "Vertigo" (1958).
10. Witness for the Prosecution (1957)
Approved | 116 min | Crime, Drama, Mystery
A veteran British barrister must defend his client in a murder trial that has surprise after surprise.
Votes: 109,796 | Gross: $8.18M
Apparently Hitchcock joked that people often told him how much they enjoyed his "Witness for the Prosecution" and Wilder complained that people thought that he'd directed "The Paradine Case"!
11. Road Games (1981)
PG | 101 min | Horror, Mystery, Thriller
A laid-back American truck driver in south Australia starts to suspect a man driving a green van of killing young women along his route, and proceeds to play a cat-and-mouse game in order to catch him red-handed.
Combining a festering sense of dread with sassy, Tarantino-esque dialogue, this Hitchcockian outback thriller has lost none of its menace
Budgeted at $1.75m, at the time of its release Road Games was the most expensive Australian film ever mate. In the tradition of high-concept pitches that "sell the sizzle" by combining movie A with movie B, the easiest shorthand to describe Road Games is as a combination of Hitchcock’s Rear Window and Steven Spielberg’s Duel.
12. Last Embrace (1979)
R | 102 min | Mystery, Romance, Thriller
Harry breaks down and loses his job after his wife is assassinated - could it be his turn next ?
Votes: 2,485 | Gross: $1.54M
A very decent effort from director Jonathan Demme before he went on to better things,LAST EMBRACE is inevitably compared to the works of Alfred Hitchcock,with many scenes derivative from many of the master's most famous works(VERTIGO,THE MAN WHO KNEW TOO MUCH,STRANGERS ON A TRAIN,etc.),but this is actually an effective suspenser in it's own right,with an intriguing plot,good performances and an exciting finale.Roy Scheider plays a Secret Agent just released from care after suffering a breakdown after his wife was killed in a shootout in a restaurant.After finding a woman(Janet Margolin)who has moved into his flat,he begins to suspect someone is trying to kill him after sinister messages in Amharic keep turning up.
The film would've been more superior with more humour and better pacing,but nevertheless this isn't at all a bad Hitch imitation,with the bird imagery(a motif Hitchcock used frequently in his films)and a fine musical score by Miklos Rozsa(who had himself worked with Hitchcock on SPELLBOUND)adding to the atmosphere.The performances are fine,especially Ms Margolin,an undervalued and lovely actress who never quite made it to the top,making her character quite pitiable despite her actions.Her early death at the age of 50 in 1993 was indeed a sad loss for a film performer who deserved better.
LAST EMBRACE was made shortly before Hitchcock's death in 1980;one wonders did he ever see this film? If so,I think he would have quite enjoyed the homage on view,not great,but fairly respectful and entertaining.
13. Fourth Story (1991 TV Movie)
PG-13 | 92 min | Drama, Mystery, Romance
Valerie's husband Darryl leaves for work as usual, but never returns. She hires private eye Shepard to find him. Soon he discovers that David had a second identity and obviously doesn't ... See full summary »
A wonderfully filmed, deliciously scored and brilliantly acted contemporary Hitchcockian thriller. Mark Harmon plays a private eye the likes of which hasn't been seen often and Mimi Rogers is perfect as the woman with the missing husband who hires him. The wonderful direction of Ivan Passer makes this a classic in its own right.
The actors are perfectly cast and have an easy chemistry with each other (and not just Mark Harmon and Mimi Rogers - all the actors are perfectly cast from the biggest to the smallest part!) while the script is a model of clarity and fun that most writers would do well to emulate.
The music score is a joy and works like gangbusters.
It makes you wonder why most directors think of Jazz as a fad when it can be made to work so well in so many settings.
14. Blow Out (1981)
R | 108 min | Crime, Drama, Mystery
A movie sound recordist accidentally records the evidence that proves that a car accident was actually murder and consequently finds himself in danger.
Votes: 45,055 | Gross: $13.75M
De Palma, a director whose films are relentlessly linked to those of Alfred Hitchcock, has been accused of imitating the cinematic grammar of Hitchcock and other directors. And though De Palma’s signatures are often undeniably Hitchcockian in their intertextuality and polish, with Blow Out he goes beyond Hitchcock’s model and puts forth his own integrated obsessions which, present throughout his career as the defining signifier of his originality and importance as an auteur, demand an investigation of cinema itself.
In one scene, recalling the steady pull-back from an impending murder in Hitchcock's 'Frenzy (1972),' the camera literally swoops away from a bloody murder scene into a bustling street of oblivious pedestrians. (De Palma once again used a shot like this in 'Scarface (1983)' for the notorious chainsaw scene). In another sequence, when Jack realises that his tapes have been magnetically erased, the camera begins to rotate, and doesn't stop, superbly capturing the euphoria of the character's predicament.
The final chase sequence on the streets of Philadelphia during the celebration of the ringing of the Liberty Bell is as well staged and shut and as exiting as the similar climatic chase on Mount Rushmore in Hitchcock's "North By Northwest". The movie is perfectly balanced by the last scene and the hilarious opening scene mirroring each other but this time the scream is different. It IS a good scream that came from the streets of Philadelphia.
15. Julie Darling (1982)
R | 100 min | Crime, Drama, Horror
A teenage girl whose inaction caused her mother's death arranges a similarly gruesome fate for her stepmother and brother.
Crackerjack thriller here, a deeply twisted film about a budding 12 year old psychopath's obsession with her own father and willingness to kill off anyone who comes between them. Tony Franciosa is good as the befuddled, utterly clueless father, Sybil Danning even better as the sex maven MILF single parent whom he is in love with, and the show is completely stolen by Isabelle Mejias as young Julie.
One thing I kept wondering about through the film: Does Julie know that her feelings for her father are twisted, and that her actions are wrong if not outright evil? The film scores points by not letting the viewer find out whether she actually knows right from wrong. Hitchcock would have been impressed by the plotting, especially the killing of a young child by a sex murderer who is rewarded for playing a part in young Julie's scheme by being set up for his own execution. The ending is also inevitable, or rather the only ending that was possible given the material. Anything else would have been a cop-out, and there is a knowing glint in someone's eye when it's all over to suggest that they didn't have a problem with how everything worked out.
You also couldn't make this movie today. It's too sick, twisted, amoral and politically incorrect. Modern viewers will be hard pressed to equate the film with anything later than THE GOOD SON, which lacks the psycho-sexual tension that raises JULIE DARLING's quease level beyond mere camp. Recommended as a double bill with William Grefe's IMPULSE with William Shatner. Creepy.
16. The Vanishing (1988)
Not Rated | 107 min | Mystery, Thriller
Rex and Saskia, a young couple in love, are on vacation. They stop at a busy service station and Saskia is abducted. After three years and no sign of Saskia, Rex begins receiving letters from the abductor.
Sluizer’s 1988 classic bares similarities to many Hitchcock thrillers in that we spend almost as much time with the antagonist as we do with our protagonist Rex. On a road trip, Rex’s wife Saskia shares a disturbing dream with him, after which he vows never to leave her side. But upon stopping to fill the car with Petrol, Saskia wanders away and disappears without a trace.
Yet we know who has her, as we’ve met Raymond, a supposedly decent family man, practice and prepare for this abduction. What evolves in this tale is one of the most taut and terrifying suspense thrillers ever created, with our empathy for Rex’s tension-filled two-year search for his wife reaching an absolute breaking point.
This is quite an interesting film. While it relies on a similar theme as Hitchcock's "The Lady Vanishes" and Robert Fuest's "And Soon the Darkness", it has quite the unique edge. I love that the story of both the boyfriend and the abductor are told. And not so we can sympathize with the abductor -- in fact, his motives become even more mysterious the more we know. It seems to be a Leopold and Loeb situation, but is never made explicit.
The final act is so chilling that Stanley Kubrick called it the scariest film he had ever seen, and asked Sluizer to advise him on the editing for “The Shining.” Skip the Kiefer Sutherland remake and see the original if you can find it.
17. Blindfold (1965)
Approved | 102 min | Comedy, Crime, Mystery
A New York psychiatrist is solicited by government agents in connection with a former patient of his who also happens to be a scientist wanted by certain foreign powers.
This is a pleasant mystery thriller with some light comedic moments and as such is typical of a lot of movies made in the same period of the middle to late sixties, most with one word titles such as this one has. Partly inspired by the popularity of the stylish "Charade" of a few years earlier, and more obviously influenced by Hitchcock, this is a mixed group of films with often middle aged or lesser known actors in the lead. This one has a biggie: Rock Hudson. He plays a psychiatrist with the wonderfully slick, Hollywoodish name of Bartholomew Snow, who gets in trouble up to his ears and, more to the point, eyeballs, when one of his patients turns out to be a prominent scientist who's being trailed some rather unsavory characters.
Hudson's ably supported by the luscious Claudia Cardinale, and the two make a very attractive couple. Also good is the late Jack Warden in a key role, and Guy Stockwell as a man who stutters. There's really no need to go much further into the plot except to say if one is in the mood for stylish, anodyne entertainment, this is a good one to catch. It has good credentials, too: directed by Philip Dunne, from a Lucille Fletcher story, photographed by the legendary Joe MacDonald.
18. Naked Obsession (1990)
R | 93 min | Drama, Thriller
A city councilman explores the seedy side of town to help him decide how to approach an urban renewal project. Being obviously not from there he is beaten in the street and his wallet ... See full summary »
The moral of this movie. One is never certain when evil enters one's life. As Lao-Tzu has said, "Only when man recognizes beauty as such, does ugliness become reality. Only when man recognizes goodness as such, does evil become reality."
One of the great hidden gems of late-night cable. The main actor, William Katt, has come a long way since he was Carrie's date for the prom. A second-generation actor (Bill Williams and Barbara Hale's son), Katt is great in this role, but the movie is stolen by the masterful performance of Rick Dean as the very bizarre "Sam Silver" in this Hitchcockian thriller. If ever there was an example of how big a part luck and studio hype play in film success, this is it. This movie deserves to be well-known, and it should have catapulted Rick Dean into a major role. Watch this movie, and tape it for your friends who have taste.
19. Buried (2010)
R | 95 min | Drama, Mystery, Thriller
Paul is a U.S. truck driver working in Iraq. After an attack by a group of Iraqis he wakes to find he is buried alive inside a coffin. With only a lighter and a cell phone it's a race against time to escape this claustrophobic death trap.
Votes: 150,384 | Gross: $1.03M
“Buried” is shot entirely in a coffin. Director Rodrigo Cortés cites Hitchcock's "Rope" and "Lifeboat" as major influences on his style. Hitchcock pioneered this form of single-location filmmaking.
The camerawork in “Buried” utilizes traditional Hitchcock devices such as voyeuristic gaze, Vertigo effect, POV and framing that creates claustrophobia and builds tension.
Music and ambient sound played key roles in “Buried.” The music borrowed very similar high and low-note, jarring tones from Hitchcock scores, keying up only to emphasize emotion or terror. Creaks, falling sand, breathing, the sound of a lighter igniting – these noises were raised and lowered in intensity in a calculated manner.
20. Don't Breathe (2016)
R | 88 min | Crime, Horror, Thriller
Hoping to walk away with a massive fortune, a trio of thieves break into the house of a blind man who isn't as helpless as he seems.
Votes: 223,879 | Gross: $89.22M
Hugely influenced by another Hitchcockian thriller named "Wait Until Dark".
This is Alvarez's first film in three years since his violent and solid remake of Evil Dead, and it is with this sophomoric debut that solidifies the genre filmmaker as someone with obvious talent. Alvarez delivers with almost Hitchcockian precision by using suspense and shock like a one-two punch combo. Inspirations are drawn from the best - Hitchcock, Fincher, and Wait Until Dark are a few - but Alvarez also provides his own unique vision that truly makes the film his own. Like the masters before him, Don't Breathe is purely cinematic, relying less on dialogue and more on visual storytelling and sound to drive the film. The cinematography is amazing as well as the creative sound design, so much so they are characters within the film themselves.
Don't Breathe builds its tension the hard way. Instead of relying solely on jump scares and gore, the film consistently paints itself and its characters into a corner then creatively gets them out of a bad situation while being both unexpected and completely organic. It's a hard high-wire act and one that you'd think a genre director like Fede Alvarez would stumble on. Yet Don't Breathe not only continues the Hitchcockian chamber-piece Renaissance kicked off by Disturbia (2007), it runs away with it. It artfully repackages old- fashioned thrills and kills it with a third act that's ominous but earned.
If there's a spiritual grandfather to Don't Breathe it's almost certainly Alfred Hitchcock's Rope (1948). Not only is the cinematography eerily similar but so are the themes which parities feeling of superiority (in this case moral not intellectual) with the banality of evil. 10 Cloverfield Lane (2016) may have been this year's torchbearer for the old master's brand of suspense thus far this year but I'm going to go ahead and say its reign has been short-lived. Don't Breathe - don't miss.
21. Side Effects (I) (2013)
R | 106 min | Crime, Drama, Mystery
A young woman's world unravels when a drug prescribed by her psychiatrist has unexpected side effects.
Votes: 180,648 | Gross: $32.17M
Side Effects is one of Steven Soderbergh's most assured pieces – a glorious finale to his oeuvre, and a comforting tip of the hat to Hitchcock. But unlike the pedantic masturbatory exercises that Brian DePalma would forever pump out in homage to the Master of Suspense (Dressed to Kill and Body Double), Side Effects is not a riff or tongue-in-cheek spin on Hitchcock. Instead, it’s a methodical, intelligent meditation on obsession, delusion, and the big con that would forever haunt Hitchcock and drive him to explore the dishonest nature of mankind in general.
Like Psycho, Side Effects distracts us with a character who may or may not be our protagonist and may or may not be trustworthy. I’m attempting to keep the plot details as non-specific as possible so as not to spoil, but as with the best thrillers, and my personal favorite storytelling mantra, “things are not what they seem.” We should not take anything anyone does or says for granted. Are we following Marion Crane from Psycho who pulls off a misguided last minute robbery, or is this a much more sinister and focused Judy Barton from Vertigo?
22. Timecrimes (2007)
R | 92 min | Horror, Mystery, Sci-Fi
A man accidentally gets into a time machine and travels back in time nearly an hour. Finding himself will be the first of a series of disasters of unforeseeable consequences.
Votes: 58,759 | Gross: $0.04M
In a review, Critic Matt Fisher wrote, "It's like if Philip K. Dick wrote a screenplay for Alfred Hitchcock".
At the beginning of the story, we have this Hitchcock element: we have a woman, who is working and building a table, and all the time she is thinking about putting the table inside the house. And then there is a man looking through binoculars at the forest. This is a real Hitchcock opening: you have a great house in a great forest, you have this great life, but you are looking through binoculars far from home. Why? What is he trying to find? Once he finds this fantasy of a naked girl in the middle of nowhere, he becomes a Hitchcockian character because he’s dealing with his own fantasies. Just like Norman Bates in Psycho, he’s a victim as well as a criminal.
23. Play Misty for Me (1971)
R | 102 min | Drama, Thriller
The life of a disc jockey is turned upside down after a romantic encounter with an obsessed fan.
Votes: 25,798 | Gross: $11.80M
John Cassavetes, the famed actor/director simply told Clint Eastwood, “the only thing wrong with this movie is that it doesn’t have the name “Hitchcock” on it.”
Misty as Hitchcock: Sir Alfred preferred manipulating the audience with long bouts of drawn-out dread, versus going for the jolt of a quick shock. Clint Eastwood works both forms of torture into his film. Not long ago I submitted an entry to another blogathon, The Hitchcock Signature, in which I discuss the visual commonalities between all of Hitchcock’s films. I mention it here because Misty could have easily made that list as well. Besides its obvious suspence/thriller theme, what makes Play Misty for Me a film Hitchcock could have made are its many Hitchcockian visuals/scenes.
Among other things, the main character’s distrust of the police in Misty, is also a theme prevalent in Hitchcock films. Then there’s the setting. The places in all Hitchcock films are central to his telling his stories on film, arguably as important as his characters. As I mentioned, Eastwood shot Misty in his own home town, giving the many exterior shots and those in various establishments a familiar, hometown feel. However, for his apartment, where many of the tense scenes take place, he chooses a claustrophobic, crowded place with a strange design and often depicts scenes at night when people are most vulnerable, a psychological advantage for suspense – a-la-Hitchcock. Smoke and shadows.
I must mention also a brief, but obvious Hitchcock homage (at least to me) during the film’s climactic, final encounter between Evelyn and Dave. In the scene, Evelyn yields a knife, way up over her head, a flash of the background – a bathroom curtain. Very similar to another psycho of much repute.
Source :- http://aurorasginjoint.com/2012/07/09/play-misty-for-me-eastwood-does-hitchcock/
24. Jewel Thief (1967)
186 min | Crime, Drama, Musical
A Police Commissioner's son comes under suspicion for being a jewel thief.
A Bollywood Hitchcokian movie!!! Director of probably the best ever bollywood movie, i.e. "Guide", Vijay Anand, created the best hitchcockian movie of Bollywood(Indian Film Industry). "Jewel Theif" was critically acclaimed as well as, was a commercially successful hitchcockian movie - which can not be said about any other bollywood movie.
This thriller was a loose remake of 'Vertigo' and 'To Catch a Thief' - two very different genres of Hitchcock's thrillers. With its scintillating soundtracks and a racy plot, the movie held audiences spellbound and cash tills ringing.
Be it the plot, use of flashy colours like red, modern lifestyles and nail-biting suspense - the movie was perhaps the best bollywood adaptation of Hitchcock thrillers.
The lead played by Dev Anand was very close to the one Cary Grant played in the movie, 'To Catch a Thief'. The storyboard in which a reformed thief realises that someone else was using his tactics to pull off heists, also matched.
'Jewel Thief' also wove in scarier aspects from another Hitchcock murder mystery, 'Vertigo', where the hero, detective Scottie (played by James Stuart) suffers a 'nervous breakdown' in a game of double identities and entendre, one of Hitchcock's pet themes.
25. Obsession (1976)
PG | 98 min | Drama, Mystery, Thriller
A wealthy New Orleans businessman becomes obsessed with a young woman who resembles his wife.
Votes: 8,962 | Gross: $1.00M
"Obsession" is truly one of the best movie Hitchcock never made.
It came out the same year as the great master of suspense made his last movie, the "Family Plot", it has a classy, brilliant soundtrack by the legendary Bernard Herrmann that fits nicely in with the work he did for Hitchcock, it has a wonderful script by Paul Schrader that will keep you guessing till the last frame, and last but not least: it's directed by Brian De Palma, who despite being slammed by some critics for ripping off Hitchcock should in stead be praised for being able to copy the master better than any other living filmmaker.
Obsession, as has been noted numerous times, is De Palma's homage to Hitchcock's masterpiece, Vertigo. It's not a straight out copy as some reviewers have somehow managed to convince themselves, but narrative drive is similar. Robertson in grief for a passed on wife (Bujold) and daughter meets a doppelganger (also Bujold) of his dead wife 16 years down the line and becomes obsessed with her. As the new woman reciprocates the attraction, the relationship becomes wrought and borderline unhealthy, reaching a crescendo when muddy waters are stirred and revelations force the can to open and worms to spill everywhere.
Recommended by :- jrcjohnny99
26. Se7en (1995)
R | 127 min | Crime, Drama, Mystery
Two detectives, a rookie and a veteran, hunt a serial killer who uses the seven deadly sins as his motives.
Votes: 1,455,110 | Gross: $100.13M
Se7en's killer is not seen until the final act of the movie, but he’s a living, breathing, grinning presence from start to finish. Kevin Spacey offers a John Doe lifted quietly from one of film’s all-time greatest villains: Joseph Cotten’s Uncle Charlie in Shadow of a Doubt, his railing against indulgence, his isolationist self-regard and final attempt at sexual sacrifice. David Fincher is an obvious disciple of Alfred Hitchcock; Se7en must join the league of Dressed to Kill, The Manchurian Candidate, Double Indemnity, and precious few others in the category of suspense films that are worthy of the Master.
27. Experiment in Terror (1962)
Not Rated | 123 min | Crime, Mystery, Thriller
A man with an asthmatic voice telephones and assaults clerk Kelly Sherwood at home and coerces her into helping him steal a large sum from her bank.
Director Blake Edwards loved San Francisco so much that he filmed two movies here back to back—Days of Wine and Roses (1962) and then Experiment in Terror—and really gave Alfred Hitchcock a run for his money with Experiment. Though everyone thought of him as a comedian, Edwards proved he could pull a Hitchcock and ratchet up the suspense, plus he worked with his long-time collaborator Henry Mancini on an absolutely fantastic score; one of the best ever.
28. 23 Paces to Baker Street (1956)
Approved | 103 min | Crime, Mystery, Thriller
A blind American writer living in London stumbles upon a criminal conspiracy involving kidnapping and extortion.
This is one of the relatively few movies that actually deserves the appellation of "Hitchcockian". Henry Hathaway did a marvelous job of matching a typical Hitchcock thriller-- much as Stanley Donen was to do, seven years later, in "Charade" (using Hitchcock-favorite Cary Grant).
Everyone who watches "23 Paces to Baker Street" says the same thing, it is very similar to a Hitchcock movie. From the styling through to the storyline director Henry Hathaway has crafted a movie which feels and looks like something Alfred Hitchcock would have made, maybe only lacking in Hitchcock's dark wit. But it works, the whole story revolving around a blind man over hearing what sounds like a nefarious plot between two people in a London pub then using his heightened senses to unravel a possible crime is both entertaining and clever, not without issue but most importantly entertaining.
In a way "23 Paces to Baker Street" is similar to Hitchcock's "Rear Window" where we have a central character who has a disability which limits them and they believe they know of a crime.
29. The Fallen Idol (1948)
Approved | 95 min | Drama, Mystery, Thriller
A butler working in a foreign embassy in London falls under suspicion when his wife accidentally falls to her death, the only witness being an impressionable young boy.
Votes: 7,786 | Gross: $0.34M
Based on Graham Greene's short story "The Basement Room", the film builds on the look of Hitchcock's "Rebecca", with a house as visually significant as Manderlay, plus fraught with Lillian Hellman's sophisticated view of childhood as in "These Three". Key is not just Georges Périnal's enthralling story, but the stunning direction by Carol Reed in how he uses gorgeous black and white cinematography from both a memorable interior and a London that ranges from scary night to a misleadingly bright daylight that is equally full of secrets, as seen in a new 35 MM print at NYC's Film Forum.
The beautiful production design is dominated by a gorgeous staircase in the ambassador's residence that has to rank with one of the all time movie centerpieces as in "Gone With The Wind", and is as central for the first and last third of the film as the Rear Window in another Hitchcock film. Reed has the camera go up and down those heavily symbolic stairs as a shared link from the main floors that are the busy public areas, down to the basement servant quarters then up and up to the private residential areas, with overlooking balconies and windows that are key for spying on each level. The staircase sets up several dramatic events (adding layers to the film's title), climaxing in a notable scene of the incredibly tense voyage of a child's innocent-seeming paper airplane that carries a significant clue slowly, slowly traversing that vertical no-man's/everyman's land from the top to the bottom, as we hold our breath where it will land.
30. Confidentially Yours (1983)
PG | 110 min | Comedy, Crime, Mystery
Claude Massoulier is murdered while hunting at the same place as Julien Vercel, an estate agent who knew him and whose fingerprints are found on Massoulier's car. As the police discovers ... See full summary »
This romance/comedy/murder movie is the last film Truffaut made. It's called an homage to Hitchcock, and like many of Hitchcock's films it mixes murder with humor, with the two leads misunderstanding each other, a good deal of misdirection, and everything turning out okay.
A man is murdered and another man (Jean-Louis Trintignant) is a suspect. Then the suspect's wife is killed and it looks like he did it. He hides from the police while his secretary (Fanny Ardant), who loves him, sets out to prove his innocence. More murders happen, red herrings are thrown about, and finally the killer meets justice, exiting on a great last line, "Women are magic, and I became a magician." Here and there are gentle reminders of scenes from Hitchcock movies, including the staggering victim with a knife in the back from North by Northwest.
The static/mobile dynamic of Vercel and Barbara brings to mind the relationship between the wheelchair-bound Jimmy Stewart and his detective-proxy-girlfriend Grace Kelly in Rear Window, which is only one of many references to Alfred Hitchcock.
31. Duel (1971 TV Movie)
PG | 90 min | Action, Thriller
A business commuter is pursued and terrorized by the malevolent driver of a massive tractor-trailer.
While 1975’s “Jaws” was the film that launched Steven Spielberg’s career into the stratosphere, it was his 1971 made-for-TV movie “Duel” that jettisoned him from being Universal Executive Sid Sheinberg’s kid with potential to being hailed as the next Hitchcock.
Based on Richard Matheson’s short story, “Duel” is a white knuckler tale about a passive businessman (played by the excellent Dennis Weaver) driving through the California countryside who is continually stalked by a greasy covered tanker-truck. What elevates this simple plot from being an average Action chase film is Spielberg’s calibrated use of sound (with music only coming in at carefully selected moments, akin to Bresson) and a detailed selection of lenses and compositions that place us squarely in the perspective of Dennis Weaver’s lonely character, with the meta-last name of Mann.
In fact, we never see the face of the truck driver, just his tattooed arm, and are never given a clear reason for his relentless attack (echoes of Hitchcock’s “The Birds”). “Duel” so impressed the Universal Executives that extra scenes were then shot and the film was re-released as a theatrical Motion Picture in Europe.
32. Mirage (1965)
Approved | 108 min | Mystery, Thriller
An accountant suddenly suffers from amnesia. This appears related to the suicide of his boss. Now some violent thugs are out to get him. They work for a shadowy figure known simply as The Major.
Votes: 4,544 | Gross: $3.27M
Gregory Peck stars as David Stillwell, a man with a secret. The problem is: He doesn’t know he has a secret, because he is suffering from amnesia. Thus begins this psychological thriller in the Hitchcock tradition, set in New York City in the mid 1960s.
BTW this is written by Peter Stone, the same guy who wrote Charade.
33. Basic Instinct (1992)
R | 127 min | Drama, Mystery, Thriller
A violent police detective investigates a brutal murder that might involve a manipulative and seductive novelist.
Votes: 179,543 | Gross: $117.73M
Just compare how similar Sharon Stone's character, Catherine Tramell, was similar in appearance to Kim Novak's character in Vertigo, Madeleine, that's a good start to knowing Hitchcock connection to the movie.
Both movies are set in San Francisco, and both feature a detective who follows and then becomes obsessed with a woman. But both women are very different - Novak is innocent and unaware of how Stewart will become attracted to her (although she is aware that she is being used in a murder plot), whilst Stone starts reeling Douglas in from the moment she meets him, and she is a murderer. Basically, there are connections but none can really be elaborated on. However, it is interesting that Novak's character be the basis for the look of Stone's in her most famous scene.
Source :- http://monroesmile.blogspot.in/2013/01/vertigo-vs-basic-instinct.html
34. Breakdown (I) (1997)
R | 93 min | Crime, Drama, Mystery
A man searches for his missing wife after his car breaks down in the middle of the desert.
Votes: 49,710 | Gross: $50.13M
Jonathan Mostow’s highly underrated “Breakdown” came and went with a whimper in 1997, yet this is little B-movie gem has wound up having a shelf life (file-life?) far beyond its initial reception. This movie is a combination of "Duel" and "Joy Ride" and I think it works out to be greater then either of them.
Movie Critic Roger Ebert Wrote in his review :- ""Breakdown'' is taut, skillful and surgically effective, the story of a man who finds himself trapped in a surrealistic nightmare. The story's setup is more entertaining than the payoff; as Hitchcock observed, suspense plays better than action."
Ebert even said that the Start of Breakdown is same as the start of another Hitchcockian movie called The Vanishing", i.e. when he comes to know that his wife is missing.
Okay lets get over Ebert and start our story. Kurt Russell and Kathleen Quinlan star as Jeff and Amy, a once yuppie couple hoping to find a new life in California.
But when their Jeep Cherokee breaks down, they run into the sinister friendliness of the late veteran character actor J.T. Walsh, whose offer to help these stranded motorists turns into their worst nightmare. What propels “Breakdown” into the realm of the Suspense-Thriller rather than an Action film is Kurt Russell’s deeply felt performance as the desperate, unraveling and terrified everyman Jeff as well as J.T. Walsh’s disturbingly believable truck driver Red Barr, a loving family man who just happens to keep a private cellar in his barn for his kidnapped prey. Both actors keep the action and the chase scenes psychologically grounded in a chilling reality.
35. Shutter Island (2010)
R | 138 min | Mystery, Thriller
In 1954, a U.S. Marshal investigates the disappearance of a murderer who escaped from a hospital for the criminally insane.
Votes: 1,139,487 | Gross: $128.01M
“Shutter Island”, was very Hitchcock-esque. Sure it’s based off of a book (great one btw), but there was a lot of suspense lurking in the story. And the screenplay has many hitchcock moments.
If ever a motion picture needed to be seen in February this is it. As difficult to watch as it is to review, "Shutter Island" is a psychotropic mish-mash of "Shawshank Redemption" meets "Vertigo" meets "The Sixth Sense" meets "Inglourious Basterds" meets "One Flew Over the Cuckoo's Nest," all neatly wrapped up as an ode to Alfred Hitchcock but coming off as simply a nod to Brian DePalma.
Scorsese takes what he has learned from the great films of the past and puts it into his. The master of suspense Alfred Hitchcock's influence is everywhere you look in this film. And it is no wonder, considering Scorsese even showed one of his greatest works to the crew: Vertigo. And many of those ideas are present in Shutter Island; the cliff scenes scream Hitchcock, spiral staircases, gleaming knife, rocky cliffs, ad nauseum etc all scream Hitchcock. This is a film that creeps and crawls, and is filled with dark corners. And it is all heightened by the coming storm that looms over the island. This is classic Hitchcockian film noir.
****Spoilers Ahead***** DiCaprio looked twitchy and unreliable from the start, and Ruffalo's snide tone when addressing him was a dead giveaway. So once again, we have the deluded murderer who constructs another life because he can't live with what he's done--and a whole bunch of histrionics. Plus rats! And Nazis! This is the kind of thing that Alfred Hitchcock and Norman Lloyd would have knocked out in 26 minutes.--In fact, I believe they did. It was called 'Premonition' and starred John Forsythe. Look it up, it's an episode of Alfred Hitchcock Presents.
36. Source Code (2011)
PG-13 | 93 min | Action, Drama, Mystery
A soldier wakes up in someone else's body and discovers he's part of an experimental government program to find the bomber of a commuter train within 8 minutes.
Votes: 486,493 | Gross: $54.71M
Q. What would it be like if Alfred Hitchcock directed an episode of “Quantum Leap” with a script based on “Groundhog Day”?
A. Well, it wouldn’t turn out exactly like “Source Code,” but it’d be pretty close.
What with the mysterious women and mistaken identities, the train fixation and the heady pace, it recalls Alfred Hitchcock's North by Northwest, a nod Director Duncan Jones confirms. "If we were ever talking about a reference, it was to Hitchcock. The score, the way that Jake was dressed, even the clock towers at the station. All these little things we were doing to try and bring this classic feeling to it."
The Hitchcockian case of mixed up identity like in North and Northwest and The Wrong Man is revealed to the viewer right off the bat, a bat that Jones raises much more and enough to strike out any baseball player.
37. Frantic (1988)
R | 120 min | Crime, Drama, Mystery
In a hotel room in Paris, a doctor comes out of the shower and finds that his wife has disappeared. He soon finds himself caught up in a world of intrigue, espionage, gangsters, drugs and murder.
Votes: 49,506 | Gross: $17.64M
It seems appropriate that one of the most highly regarded (if controversial) directors of all time would eventually get around to making a homage to the Master, and with this film, he did just that. A doctor vacationing in Paris with his wife takes a shower- never a good idea in a Hitchcockian thriller- and gets out to find his beloved missing. The rest of the film encompasses his trying to figure out what happened to her as he gets more and more- you guessed it- frantic. With Harrison Ford in his prime, this intense thriller never quite got the recognition it deserved, but when your resume is as loaded with classics as Roman Polanski (Rosemary’s Baby, Chinatown), that’s understandable. A clear predecessor to not one but two Liam Neeson thrillers- “Unknown” and “Taken”, this is a slick fun ride. See also Ford’s “What Lies Beneath” and Polanski’s “Death and the Maiden” for more familiar Hitchcockian fun.
38. Panic Room (2002)
R | 112 min | Crime, Drama, Thriller
A divorced woman and her diabetic daughter take refuge in their newly-purchased house's safe room, when three men break-in, searching for a missing fortune.
Votes: 260,473 | Gross: $96.40M
Fincher’s movies have been in dialogue with Hitchcock’s since the beginning—and not just in his serial killer movies (1995’s Se7en and 2007’s Zodiac). The Fincher film that draws most obviously from Hitchcock is Panic Room (2002). This is most clear in the opening title sequence, which is taken more or less wholesale from the opening of North by Northwest. Using the effect Hitchcock helped pioneer with that movie, Fincher uses “situational type” to show the credits hovering, three-dimensionally, just in front of New York City buildings.
Panic Room is, at times, reminiscent of Alfred Hitchcock's ‘Rope', as the camera pans through the building in long takes (engineered by hidden editing), showing us every corner of every room of the location.
Fincher himself reportedly described Panic Room as “Rear Window meets Straw Dogs,” and the parallels in the movie’s high-concept premise and single-location setting are fairly obvious: Both Panic Room and Rear Window find the protagonists trapped in their apartments where they sit helpless to stop the crime unraveling around them. (In the more modern Panic Room, they watch the break-in via surveillance cameras, rather than through an apartment window.) Several shots also seem indebted to Hitchcock. The break-in is shown in a highly unusual uninterrupted shot that has the camera backing out and away from the main characters, eventually heading down the stairs toward the street, in a sequence reminiscent of a famous long take in Hitchcock’s Frenzy. The last shot of the movie, which shows the characters looking at real estate listings in the park, is jazzed up through the use of a “Hitchcock zoom” (so named because Hitchcock helped popularize it with Vertigo).
39. Final Analysis (1992)
R | 124 min | Drama, Thriller
A psychiatrist becomes romantically involved with the sister of one of his patients, but the influence of her controlling gangster husband threatens to destroy them both.
Votes: 13,282 | Gross: $28.59M
Film critic Roger Ebert liked the screenplay and thought director Alfred Hitchcock, known for these types of thrillers, would have liked it as well. He wrote, "I'm a sucker for movies that look and feel like this. I like the pounding romantic music, the tempestuous sex scenes, the crafty ways that neurotic meddlers destroy the lives of their victims, and of course the handcrafted climax..." Ebert also thought the movie was needlessly complex.
In many ways Final Analysis has an Alfred Hitchcock thriller feel to it. We have the psychiatrist, the couch, the woman with bizarre dreams, the mysterious and beautiful blonde with the jealous husband, a murder, mystery and suspense, and even scenes reminiscent of Vertigo. Even so, the movie doesn't really get going until midway and it's Eric Roberts as the scary gangster-type husband who starts to clang the warning bell ring that something seriously bad is about to happen. For me, I found the support actors the more interesting to watch. Paul Guilfoyle, playing the role of Isaac's attorney friend, added delightful dashes of humour; and Keith David as a policeman who suspects Isaac of murder was like a Cheshire Cat clawing at a mouse.
40. Stoker (2013)
R | 99 min | Drama, Mystery, Thriller
After India's father dies, her Uncle Charlie, whom she never knew existed, comes to live with her and her unstable mother. She comes to suspect this mysterious, charming man has ulterior motives and becomes increasingly infatuated with him.
Votes: 103,174 | Gross: $1.70M
Korean filmmaker Park Chan-Wook's American debut Stoker is currently playing in theaters (read our review), but it's one of the more direct takeoffs from Hitchcock's cinema released this century. Indeed, screenwriter Wenworth Miller (star of the TV series Prison Break) has openly and proudly admitted that Hitchcock's Shadow of a Doubt was the "jumping off point" for his script. Stoker, like Shadow of a Doubt, revolves around a young woman (Mia Wasikowska) who discovers that her mysterious Uncle Charlie (Matthew Goode) may not be the gentleman he presents himself as. The films different significantly in other regards, in terms of story developments and artistic style. However, there's no question that Chan-Wook's first Holllywood picture can be considered a direct descendent of the Hitchcock school for movie-making.
41. Unknown (I) (2011)
PG-13 | 113 min | Action, Mystery, Thriller
When a man awakens from a coma only to discover that someone has taken on his identity, he teams up with a young woman to prove who he is.
Votes: 250,202 | Gross: $63.69M
In Unknown, director Jaume Collet-Serra flips the conventions of archetypal Alfred Hitchcock films on their head with a kind of reverse-Wrong Man thriller. But, in due course, the film’s inventive updates on established material serve the same escapist, entertaining purpose. The Master of Suspense often framed his leading man for murder, sending him on a mission through impossible adventures at landmark locales to clear his good name and rescue the blonde damsel. From The 39 Steps to Saboteur to North by Northwest, this was Hitchcock’s most recurring story structure. And while modern nods, such as Spielberg’s Minority Report, have paid homage astonishingly well, few have turned the basic plot elements of Wrong Man thrillers inside-out like this.
In a way, the film combines a typical Hitchcockian Wrong Man thriller with elements of Roman Polanski’s Frantic, as both feature a disorientated American struggling to reconnect with his wife via the help of a sexy local.
42. 12 Monkeys (1995)
R | 129 min | Mystery, Sci-Fi, Thriller