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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 (firstname.lastname@example.org)
A scene from the film The Secret Heart (1946), with Walter Pidgeon and Claudette Colbert, is playing on the television screen when Hitchcock makes a derogatory comment about Cook's work. See more »
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 »
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 »
As Hitch addresses his audience at the end of the picture, he tells us that he is bereft of ideas for his next picture... then a large, black bird lands on his shoulder. See more »
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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