Obsessions, projections, ghosts, devotion, destruction, Vertigo. Hitchcock’s masterpiece is difficult for me to grasp in all its complexity. It can be watched and analyzed over and over again. I concluded my Hitchcock marathon (or rather half-marathon) and enjoyed revisiting some of his films and appreciating their qualities. I should do this more often. There are still so many films in the collection... but another time...
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Rear Window! It’s probably the most obvious example of Hitchcock’s use of sympathy and manipulation of the audience, and the most meta film. We observe a man observing other people. It also features one of the most magnificent studio sets in film history. (I had completely forgotten how inherently horny the film is.)
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In my Hitchcock marathon, I’m slowly approaching the home stretch with his greatest works. I watched Psycho again, one of my all-time favorite films. As a film formalist, I consider this to be one of the holy grails. It’s exciting in terms of content and a formalistic masterpiece. I mean, just look at how boldly Hitch switches from a single protagonist to a network narrative. Fantastic!
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I watched Rope. James Stewart and John Dall discuss Nietzsche in flickering red and green neon lights against a kick ass cyberpunk backdrop. This is cinema!
The Wrong Man was so unusual compared to his other works that they felt compelled to have a foreword by Hitchcock himself: It is a film adaptation of real events. We have the usual sense of sympathy for the protagonist, but the movie is relatively low-key for long stretches. Very strong performance from Henry Fonda, and terrific photography from Hitchcock’s long-term cinematographer Robert Burks.
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My Hitchcock run continues with The Birds. I had a lot of fun watching it, even though it's not one of my favorites. In many ways, it's the blueprint for Jaws. I had forgotten how rad some compositions are. Twenty years later, Brian De Palma would bring out the diopter for such extravagances.
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I watched Dial M for Murder again. Those early color films really do have a unique tone and quality. I believe WarnerColor significantly pushed red. And this film is a great example of what made Hitchcock famous: manipulating viewer sympathy for characters. He was the absolute master, such a great film.
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DORO