From: Scott on
On Jul 16, 9:11 am, "Raja, The Great" <zepflo...(a)yahoo.com> wrote:
> On Jul 16, 8:06 am, Scott <scott...(a)yahoo.com> wrote:
>
>
>
>
>
> > On Jul 16, 8:50 am, "Raja, The Great" <zepflo...(a)gmail.com> wrote:
>
> > > Check this out... Lifeboat as high as #8.
>
> > >http://www.suspense-movies.com/directors/alfred-hitchcock/
>
> > > Each time you enter a video store, you see them aimlessly wander the
> > > aisles. Dyed-in-the-wool movie fans, who after several years of
> > > renting, have exhausted the films they know or have heard something
> > > about. Even the most casual fan knows and appreciates Alfred
> > > Hitchcock's three most famous films: Psycho, North by Northwest and
> > > The Birds. These three masterpieces were made consecutively near the
> > > end of Hitchcock's brilliant career. But he made fifty-one other
> > > movies over a span of five decades. Not all are masterpieces. They
> > > range from breathtaking to annoying. Facing rows of DVDs in the
> > > "Hitchcock" section can cause sensory overload... so many choices, so
> > > many opportunities to skip over the classics and choose one of the
> > > dogs. With that in mind, here is my list of the ten "next best"
> > > Hitchcock films to rent after you've enjoyed the famous three.
>
> > > 1) Rear Window, 1954. Though too claustrophobic to equal his best
> > > movies, Rear Window nails all the themes that reoccur throughout
> > > Hitchcock's work. As Jimmy Stewart unravels a mystery, much of the
> > > film is without dialogue. Between the intriguing camera shots and
> > > Stewart's facial expressions, the audience must deduce what exactly is
> > > going on for themselves.
>
> > > 2) Strangers on a Train, 1951. Alfred Hitchcock believed in a film
> > > device called the McGuffin. A McGuffin is the thing the characters in
> > > the movie care about, but we as the audience ignore. The McGuffin is
> > > what sets the story in motion. Psycho's McGuffin is Janet Leigh
> > > stealing $50,000. Strangers' McGuffin may be the best ever conceived
> > > for a film. Robert Walker is unforgettable.
>
> > > 3) Foreign Correspondent, 1940. All Alfred Hitchcock films made during
> > > World War II are a bit flawed today by the extreme hysteria that was a
> > > natural reaction then. All, that is, except Foreign Correspondent. It
> > > features his most three-dimensional villain of this period and ends
> > > with an impassioned call to patriotism. If nothing else, we are shown
> > > how heroes are made out of the most unlikely candidates. Also, it'd be
> > > years before Hitchcock had this much fun again.
>
> > > 4) The 39 Steps, 1935. In the 1926's The Lodger, Hitchcock first
> > > presented his familiar predicament: an innocent man falsely accused of
> > > a crime. The 39 Steps has the twist of being about an innocent man
> > > falsely accused of being a spy. Loaded with memorable scenes and fun
> > > bantering between Robert Donat and Madeleine Carroll, this film
> > > features one of Hitchcock's most intriguing stories. While flawed by
> > > some incomprehensible British dialogue (why do they swallow the last
> > > half of their words?), the film is frustrating because when one of the
> > > characters, in a riveting scene, answers the question, "What are the
> > > 39 Steps?", we want to know more. Unfortunately, the movie mostly
> > > ignores the 39 Steps themselves. (The Steps are the film’s McGuffin.. A
> > > remake focused on the Steps themselves.) In fact, although the
> > > villains are obviously German, the production code of the time
> > > prevented the characters from using "German" or "Nazi". Such cowardly
> > > "forced apathy" was in a great part what led to the successes and
> > > tragedies of fascism.
>
> > > 5) Dial M for Murder, 1954. There aren't many straight men in the
> > > world who would want to get rid of Grace Kelly as their wife, but Ray
> > > Milland is one. Too talky (and the money involved sounds comical
> > > today), but still a wonderful unraveling of a "perfect" crime. The
> > > major flaw is the ludicrous casting of Robert Cummings as the heroic
> > > lead. The love of his life is about to be executed and he still has
> > > time to perfectly arrange his hanky in his breast pocket. Grace Kelly
> > > does a surprisingly poor job, but her part is small. Milland is
> > > terrific when smugly in control.
>
> > > 6) The Lady Vanishes, 1938. A fine mystery where the bad guys (again,
> > > nobody calls them Germans) seek to convince a previously ditzy heiress
> > > (Margaret Lockwood) she didn't see what she saw: believe us, not your
> > > eyes. Building to a wonderfully tense conclusion, The Lady Vanishes
> > > today can be viewed as a microcosm of what the world faced in World
> > > War II: treachery, apathy, the big lie, lonely heroism, and finally,
> > > redemption. Particularly memorable are two English twits more
> > > concerned with cricket than important events swirling around them,
> > > until the evil forces demand that they abandon their sense of fair
> > > play and be a party to the evil. (The twits' characters became so
> > > popular they reappeared in other films, most notably the excellent
> > > Night Train to Munich.)
>
> > > 7) Shadow of a Doubt, 1943. Uncle Charlie was Hitchcock's first
> > > psychopath. Even though marred by the obvious paranoia of the times
> > > (the outsider is welcomed, but then found evil), Shadow of a Doubt
> > > brings terror into the guest room. Alfred Hitchcock knew it takes
> > > elements of the familiar and comfortable to create the most terrifying
> > > nightmares. In that way Shadow is the direct ancestor of The Birds and
> > > many modern horror movies.
>
> > > 8) Lifeboat, 1944. More World War II paranoia, but this time the few
> > > characters must wrestle with the dilemma of what to do with evil when
> > > it's staring you in the eye. Savage and angry, Lifeboat shows what a
> > > difference a decade makes. Here not only are the Germans the literal
> > > enemy, but John Hodiak pronounces "gnatsies" like he's spitting out
> > > poison.
>
> > > 9) To Catch a Thief, 1955. Besides North By Northwest, Cary Grant
> > > excelled in Notorious, Suspicion and this movie, making him the
> > > quintessential Hitchcock leading man. (Jimmy Stewart has to settle for
> > > second.) A retired thief, even Grant has to wonder when evidence in a
> > > series of burglaries points at him. Not a classic, but Thief is an
> > > interesting twist on the "innocent man falsely accused" theme. Grant
> > > was guilty as sin years before, but now he protests his innocence.
>
> > > 10) Torn Curtain, 1966. Not as widely revered as some of his other
> > > films, Torn Curtain is nonetheless quite entertaining. Starring Paul
> > > Newman and Julie Andrews (looking both gorgeous and heartbroken), this
> > > movie is chocked full of ordinary people moved to heroism. The bad
> > > guys are made particularly nasty by making them East Germans, as if
> > > being either Commies or Nazis alone is no longer enough! The farmhouse
> > > scene is a fine study in the ingenuity of desperation.
>
> > > Honorable mention:
> > > Notorious, possibly the last movie Nazis were the enemy and not the
> > > Soviets.
> > > Saboteur, terrific locations including Statue of Liberty scene, marred
> > > only by Robert Cummings again.
> > > The Man Who Knew Too Much, the 1934 version, not the much worse 1956
> > > remake where Doris Day croons "Que Sera, Sera" as her son is hostage a
> > > few yards away.
>
> > > Also:
> > > Vertigo, ingenious (and starring Kim Novak) but just too painfully
> > > slow in spots.
> > > Rebecca, a wonderful idea but stretches the slim story out much too
> > > long.
> > > Spellbound, has moments but the archaic presentation of psychoanalysis
> > > is silly.
> > > The Wrong Man, based on a true story where the look-alike of a crook
> > > is arrested.
> > > Suspicion, could have been great but censors forced a ridiculous
> > > changed ending.
> > > Rope, The Lodger, Topaz, Frenzy, Murder, and I Confess are worth
> > > checking out.
>
> > > Amazingly, after all these, Alfred Hitchcock still has a decent body
> > > of work available in Blackmail, Sabotage, Young & Innocent, Secret
> > > Agent, Number 17,  Marnie, The Trouble With Harry and Family Plot. If
> > > you get this far, you'll have seen some of the finest movies ever
> > > made, but don't be surprised if every bird, crop duster and shower
> > > curtain you see makes your skin tingle.
>
> > i don't think i've seen Number 17.  that's the only one I haven't on
> > the list so far.
>
> Me neither
>
> > Frenzy is great.  the contrast between murder psychology (i.e., both
> > lead male characters are capable of it) and the spot-on humor thrown
> > in (i.e., the detective wife's cooking, Barry Foster's Mum) is typical
> > AH.
>
> I haven't seen Frenzy.
>
> > Secret Agent and Saboteur are notable in that they broke rules. Secret
> > Agent is famous for two scenes, both of which break established
> > cinematic conventions of the time.  Saboteur is great stuff; i enjoy
> > the flow.
>
> Sabateur was pretty good, but I have kind of forgotten it. I don't
> think I have seen Secret Agent.
>
>
>
> > forgot to mention Spellbound.  here's the psycho-babble genre
> > personified.  Amusing in retrospect, but fascinating to watch.  Love
> > the ending here.
>
> > Marnie and Trouble with Harry are enjoyable. Topaz is noteworthy for a
> > murder scene, but overall, disappoints.  The Wrong Man is too
> > soporific; it is not easy to watch today.
>
> > I Confess is notable for an excellent flashback sequence.  haven't
> > seen the Lodger or Murder in some years.
>
> I couldn't sit through Marnie or The Birds courtesy Tippi Hedren. She
> is just a pretty face, if there was ever one. I still can't figure why
> The Birds is considered a masterpiece. The whole idea of birds
> targeting some chick is somewhat ridiculous. And I don't think the
> reason for those attacks were ever explained.-

agree about Marnie and the Birds. however, i'm not blaming Tippi;
there just wasn't enough of the spectacular in either one.
From: Raja, The Great on
On Jul 16, 8:15 am, Scott <scott...(a)yahoo.com> wrote:
>
> > I couldn't sit through Marnie or The Birds courtesy Tippi Hedren. She
> > is just a pretty face, if there was ever one. I still can't figure why
> > The Birds is considered a masterpiece. The whole idea of birds
> > targeting some chick is somewhat ridiculous. And I don't think the
> > reason for those attacks were ever explained.-
>
> agree about Marnie and the Birds. however, i'm not blaming Tippi;
> there just wasn't enough of the spectacular in either one.

Hitchcock movies got increasingly sadistic (with women) starting
Vertigo, don't you think? I think tortures all his women starting
Vertigo. I haven't seen his movies post Marnie. I should check out
Frenzy, supposed to be massively underrated.
From: Scott on
On Jul 16, 9:20 am, "Raja, The Great" <zepflo...(a)yahoo.com> wrote:
> On Jul 16, 8:15 am, Scott <scott...(a)yahoo.com> wrote:
>
>
>
> > > I couldn't sit through Marnie or The Birds courtesy Tippi Hedren. She
> > > is just a pretty face, if there was ever one. I still can't figure why
> > > The Birds is considered a masterpiece. The whole idea of birds
> > > targeting some chick is somewhat ridiculous. And I don't think the
> > > reason for those attacks were ever explained.-
>
> > agree about Marnie and the Birds. however, i'm not blaming Tippi;
> > there just wasn't enough of the spectacular in either one.
>
> Hitchcock movies got increasingly sadistic (with women) starting
> Vertigo, don't you think? I think tortures all his women starting
> Vertigo. I haven't seen his movies post Marnie. I should check out
> Frenzy, supposed to be massively underrated.

he was always a sadist, not only to women but to male actors and crew
members. the ugly truth is laid bare in Donald Spot's well-known
'Dark side of a genius.". Tough to read, but you see AH like his co-
workers did.

a pretty famous line in Notorious, uttered by Cary Grant: "I was a fat-
headed guy, full of pain" is Hitchcock looking back at himself.

disagree about V being misogynistic. the character of Midge is so
beautifully realized that it negates the perception that Scotty hates
women.

btw, don't forget V opens with a scene that makes you dislike Scotty
at once. how did he survive? He asks you to believe that he did;
then we watch Scotty lose all hope he had in finding love and/or
professional dignity. So in this universe, there is no value in
believing--anything.

From: Raja, The Great on
On Jul 16, 8:31 am, Scott <scott...(a)yahoo.com> wrote:
> On Jul 16, 9:20 am, "Raja, The Great" <zepflo...(a)yahoo.com> wrote:
>
>
>
>
>
> > On Jul 16, 8:15 am, Scott <scott...(a)yahoo.com> wrote:
>
> > > > I couldn't sit through Marnie or The Birds courtesy Tippi Hedren. She
> > > > is just a pretty face, if there was ever one. I still can't figure why
> > > > The Birds is considered a masterpiece. The whole idea of birds
> > > > targeting some chick is somewhat ridiculous. And I don't think the
> > > > reason for those attacks were ever explained.-
>
> > > agree about Marnie and the Birds. however, i'm not blaming Tippi;
> > > there just wasn't enough of the spectacular in either one.
>
> > Hitchcock movies got increasingly sadistic (with women) starting
> > Vertigo, don't you think? I think tortures all his women starting
> > Vertigo. I haven't seen his movies post Marnie. I should check out
> > Frenzy, supposed to be massively underrated.
>
> he was always a sadist, not only to women but to male actors and crew
> members.  the ugly truth is laid bare in Donald Spot's well-known
> 'Dark side of a genius.".  Tough to read, but you see AH like his co-
> workers did.
>
> a pretty famous line in Notorious, uttered by Cary Grant: "I was a fat-
> headed guy, full of pain" is Hitchcock looking back at himself.
>
> disagree about V being misogynistic.  

Not misogynistic, but somewhat cruel.

>the character of Midge is so
> beautifully realized that it negates the perception that Scotty hates
> women.

I think he loves as well as hates women. Just like most of us. ;-)
>
> btw, don't forget V opens with a scene that makes you dislike Scotty
> at once.  how did he survive?  He asks you to believe that he did;
> then we watch Scotty lose all hope he had in finding love and/or
> professional dignity. So in this universe, there is no value in
> believing--anything.

From: Raja, The Great on
On Jul 16, 8:31 am, Scott <scott...(a)yahoo.com> wrote:
> On Jul 16, 9:20 am, "Raja, The Great" <zepflo...(a)yahoo.com> wrote:
>
>
>
>
>
> > On Jul 16, 8:15 am, Scott <scott...(a)yahoo.com> wrote:
>
> > > > I couldn't sit through Marnie or The Birds courtesy Tippi Hedren. She
> > > > is just a pretty face, if there was ever one. I still can't figure why
> > > > The Birds is considered a masterpiece. The whole idea of birds
> > > > targeting some chick is somewhat ridiculous. And I don't think the
> > > > reason for those attacks were ever explained.-
>
> > > agree about Marnie and the Birds. however, i'm not blaming Tippi;
> > > there just wasn't enough of the spectacular in either one.
>
> > Hitchcock movies got increasingly sadistic (with women) starting
> > Vertigo, don't you think? I think tortures all his women starting
> > Vertigo. I haven't seen his movies post Marnie. I should check out
> > Frenzy, supposed to be massively underrated.
>
> he was always a sadist, not only to women but to male actors and crew
> members.  the ugly truth is laid bare in Donald Spot's well-known
> 'Dark side of a genius.".  Tough to read, but you see AH like his co-
> workers did.
>
> a pretty famous line in Notorious, uttered by Cary Grant: "I was a fat-
> headed guy, full of pain" is Hitchcock looking back at himself.

That was one of the best scenes in the movie. It feels like the whole
movie you are waiting for Cary to open himself to Ingrid.
>
> disagree about V being misogynistic.  the character of Midge is so
> beautifully realized that it negates the perception that Scotty hates
> women.
>
> btw, don't forget V opens with a scene that makes you dislike Scotty
> at once.  how did he survive?  He asks you to believe that he did;
> then we watch Scotty lose all hope he had in finding love and/or
> professional dignity. So in this universe, there is no value in
> believing--anything.