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Hitchcock (2012)

PG-13 | | Biography, Drama | 14 December 2012 (USA)
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2:40 | Trailer

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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.

Director:

Sacha Gervasi

Writers:

John J. McLaughlin (screenplay), Stephen Rebello (book)
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Popularity
4,896 ( 423)
Nominated for 1 Oscar. Another 4 wins & 28 nominations. See more awards »

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Cast

Cast overview, first billed only:
Anthony Hopkins ... Alfred Hitchcock
Helen Mirren ... Alma Reville
Scarlett Johansson ... Janet Leigh
Danny Huston ... Whitfield Cook
Toni Collette ... Peggy
Michael Stuhlbarg ... Lew Wasserman
Michael Wincott ... Ed Gein
Jessica Biel ... Vera Miles
James D'Arcy ... Anthony Perkins
Richard Portnow ... Barney Balaban
Kurtwood Smith ... Geoffrey Shurlock
Ralph Macchio ... Joseph Stefano
Kai Lennox ... Hilton Green
Tara Summers ... Rita Riggs
Wallace Langham ... 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:

View content advisory »
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Details

Country:

USA | UK

Language:

English

Release Date:

14 December 2012 (USA) See more »

Also Known As:

Alfred Hitchcock and the Making of 'Psycho' See more »

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Box Office

Budget:

$15,700,000 (estimated)

Opening Weekend USA:

$287,715, 23 November 2012, Limited Release

Gross USA:

$6,008,677

Cumulative Worldwide Gross:

$23,570,541
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

During an early planning scene, Alma Reville suggests that her husband kill off Marion Crane after thirty minutes. In Psycho (1960), Mother first appears in the shadows at 48:10, then kills Marion, who collapses at 49:20, just under halfway through the film. See more »

Goofs

In the on-set scene in which Arbogast (Martin Balsam in the original Psycho) is about to be stabbed, Anthony Perkins' character is seen sitting nearby in drag as Norman-as-Mrs.-Bates. In reality, Anthony Perkins was not even on set this day (Alfred Hitchcock used a female "little person" as a double so audiences wouldn't be tipped off to the murderer's true identity by Perkins' height.) In fact, the only time Perkins actually appeared onscreen as Mrs. Bates was during the big-reveal climax in the fruit-cellar. Doubles and stand-ins were also used during the shower murder for reasons of convenience and deception. 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 The Lady Vanishes (1938) See more »

Soundtracks

Petite Four Four
Written by Peter Robert Vince
Courtesy of APM Music
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Frequently Asked Questions

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User Reviews

 
Best When It Focuses on Psycho Rather than Hitchcock's Marital Relations
5 November 2012 | by gregsrantsSee all my reviews

In 1960, famed director Alfred Hitchcock released Psycho, the film to which his name would be more associated than any other film in his heralded career. In the new bio-film Hitchcock, Psycho is the backdrop for the story between the proclaimed 'Master of Suspense' and his wife and muse Alma Reville.

Directed by Sasha Gervasi (Anvil: The Story of Anvil), the film stars Sir Anthony Hopkins as the odd-shaped director and Dame Helen Mirren as his wife Alma. We pick things up in 1959 and Hitch's ("Just call me 'Hitch'. You can hold the 'cock'") introduction to the story of serial killer Ed Gein. Hitch had just released North by Northwest starring Cary Grant and he was fascinated in the story of Gein that was the inspiration for Robert Bloch's novel, Psycho.

Hitch aggressively pursued the optioning of the story and began to adapt it as a theatrical release. But Paramount Studios, to which Hitchcock was employed, was not eager to bring the gruesome tale about a transvestite and his murderous relationship with his dead mother to the big screen. Even with Hitchcock's clout (he had already released over 40 theatrical films by 1959) was not enough to sway studio bosses, and Hitchcock eventually had to finance the film himself and mortgage his home in an effort to get the film into production (this risky move proved lucrative as Hitchcock earned an estimated $15 million by fronting his own money for 60% of the gross profits).

The film takes us through all aspects of the production of the film from financing through casting; from fights with the ratings board through the limited release of the film in only 2 theatres nationally.

But at the heart of the film is the relationship between Hitch and his wife, Alma. Hitch is hardly represented as a caring and understanding sort. Hopkins plays him as an arrogant, demanding sod who wanted to control over his leading ladies as her secretly admired his blonde actress hires unprofessionally in his private office. He was a heavy eating, heavy drinking auteur that never won an Academy Award despite such revered films as Rebecca, The Birds and Vertigo having been crafted by his immense talent.

Alma, on the other hand, is portrayed as the 'wizard behind the curtain'. She helps guide Hitchcock through his film journey's doing re-writes on scripts and providing directorial and production support. All the while, Alma is always pushed out of Hitchcock's limelight. And with Hitch's increasing jealousy over Alma's time spent with writer Whitfield Cook (Danny Huston) coupled with the financial burden of financing the film, the relationship between the two hits troubled water.

Director Sasha Gervasi works off a screenplay by John J, McLaugnlin based on the book "Alfred Hitchcock and the Making of Psycho" by Stephen Rebello and a good portion of the film is fascinating stuff. It's like watching a live-action movie about a making-of feature you would watch on a Blu-ray disc. From the casting interviews with Anthony Perkins (played dead on by James D'Arcy) and Janet Leigh (Scarlett Johansson) to how Hitchcock didn't want to use music during the infamous shower scene but was convinced by his wife and the editors or how upon first cut of the film or how the test audience (which consisted of suits, agents and censors) loathed the film and its violent content; the peak behind the closed set doors was captivating viewing.

Unfortunately, when the film sways away from the production, it is less involving. Hitch and Alma had a collaborative and sometimes combative relationship, but their affection for each other was the least interesting part of the film yet the most consuming.

There is a great supporting cast that includes Jessica Biel as actress Vera Miles, Ralph Macchio and Toni Collette and the look and feel of the era seems captured earnestly. But the movie is squarely on Hopkins' shoulders who, at times, looked odd though the make-up effects. There are times that he loses himself in the role (we loved Hitch acting like a Maestro outside the theatre as he listened to the audience's screams). But there were a few times that we could have imagined Hannibal Lecter uttering the scripted lines.

Our overall response to the film is warm and it deserves a recommendation. Back in 1959, there were no documentarians or a team of staff videotaping behind-the-scenes action for a potential Blu-ray special feature. So it was nice to travel back in history and have documented some of the events that lead to one of the most popular horror films ever made. And for that, we are grateful.

www.killerreviews.com


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