Today is Alfred Hitchcock Day! (Declared by. . . I dunno. But I'm totally game!)
Hitchcock (2012), the recent film starring Sir Anthony Hopkins, was based on Stephen Rebello’s bestselling book, Alfred Hitchcock and the Making of Psycho.
Here is Stephen Rebello's essay, “6 Great Reasons Why Hitchcock Is Still the Master of Suspense.” (Printed with permission)
6 Great Reasons Why Hitchcock Is Still the
Master of Suspense
by Stephen Rebello
Psycho. Vertigo.
North by Northwest. The Birds. If Alfred Hitchcock had directed nothing
more than that astonishing quartet, he’d still be considered the maestro of
creating nail-biting suspense, romantic intrigue, and unforgettable thrills. But
that incredible run of movies, released in theaters from 1958 to 1963,
represents only a drop in the bloody bucket of Hitchcock’s masterworks, which
stretch back to the 1920s and extend into the 1970s. If you need a reminder of
why Hitchcock rules as the all-time master of suspense, and why he is
considered the man who pretty much wrote the book on the genre, here’s your
quick cheat sheet.
1) Hitchcock
Made Us Scream in the Shower
From
Boston to Bangkok, Hitchcock stunned 1960 audiences by doing the unheard-of in Psycho:
brutally killing-off the film’s sympathetic heroine—and biggest star—less than
half way through the action. Taking his cue from the source novel by Robert Bloch,
Hitchcock blasted our notions of safety and privacy by staging the landmark
murder scene in, of all places, the bathroom, that tight, white space where one
feels most relaxed and vulnerable. Or, at least, used to. And not only
did he film Psycho in black and white to help minimize all that
blood-letting, but he and editor George Tomasini also employed
then-revolutionary rapid-fire editing techniques that suggested nudity
and violence. To put the whole thing over the top, he cranked up a shrieking
all-strings musical score by Bernard Herrmann. Voila, Hitchcock, his star Janet Leigh, and his merry band of
gifted collaborators set a standard for heart-stopping terror that has yet to
be topped—but is endlessly imitated.
2) Hitchcock
Brought Menace Out into the Open
Dark
alleys? Shifty-eyed villains with twirling moustaches? Graveyards? Rain-slicked
cobblestone streets? Haunted houses, rattling chains, and bats in the belfry?
Hitchcock considered these clichés ripe for parody and, beginning with his
British films of the 1920s, the director shone a bright light on terror and
dark deeds. With Hitchcock, thrills can even erupt during a kid’s birthday
party, as happens in Young and Innocent and The Birds. The
sophisticated, stylish heroes and heroine of The 39 Steps and North
by Northwest get chased by planes in broad daylight and open spaces; in
those same films, and such other movies as Blackmail, Saboteur, and Hitchcock’s
two versions of The Man Who Knew Too Much, dramatic action unfolds against the backdrop of tourist
attractions and national monuments like the United Nations, Mount Rushmore, the
British Museum, the Statue of Liberty, Radio City Music Hall, and the Royal
Albert Hall. When violence erupts in and around shower stalls, ski runs,
telephone booths, attics, and mountain roads, the lesson is simple: There is
nowhere to hide. Chaos and terror will find you, personified by the charming,
attractive, and seductive villains of such Hitchcock thrillers as Shadow of
a Doubt, Notorious,
Stage Fright, Strangers on a Train, Psycho, Topaz, and
Family Plot. Other films, from Charade right up through the Batman
and Mission: Impossible have been following Hitchcock’s lead ever since.
3) Hitchcock
Made Us Walk a Mile in His Heroes’ Shoes
Hitchcock
often bragged to the press about how his films grabbed audiences by “making the
viewer sweat” and “really putting them through it.” One of the most
groundbreaking ways he put us through it was his frequent use of
traveling point-of-view shots—that is, moving the camera in a way that places
the viewer in the same position as the character on-screen. It’s a technique
that makes us uneasy right along with James Stewart when we walk with him down
ominous London streets in The Man Who Knew Too Much or when he
obsessively stalks Kim Novak up and down hilly San Francisco in Vertigo. We’re
jittery when we move slowly up the hill with Vera Miles in Psycho or
when we glide along with her toward old Mrs. Bates sitting in a chair under a
naked light bulb in a basement. And how about when we walk down a dock with
Tippi Hedren, expecting her to be pecked by the birds, or when we hover with her outside the closed door of
a room in which she is about to be engulfed by our feathered fiends? Hitchcock
isn’t content with merely making us spectators. We’re full-on participants.
4) Hitchcock
Tells His Audience More Than His Characters Know
Hitchcock
and his screenwriters created some of the most dazzling moments in movie
history by emphasizing agonizing suspense rather than simple, go-for-the-throat
shock. The innocent little boy in Hitchcock’s ’30s thriller Sabotage thinks
he’s carrying a harmless parcel through London; we know he’s carrying a bomb that
is set to detonate at a certain time. In the Psycho shower scene, the
audience is shown, through the opaque shower curtain, what Janet Leigh doesn’t
see until it’s too late: the approaching shadow of a killer. Grace Kelly
searches the empty apartment of a suspected wife killer in Rear Window
while we, along
with James Stewart, break into cold sweats watching the murderer make his way
back home. The heroine of The Birds waits impatiently on a bench for a
classroom of kids to be let out of school, unaware that flocks of malevolent
birds are amassing slowly and silently behind her.
5) Hitchcock
Kept Surprises As Surprises
It’s
no exaggeration to credit Hitchcock with helping change the way we go to
movies. Psycho was made back when the price of a movie ticket bought you
a double feature, newsreel, short subjects, and trailers, and movie
ticket-buyers tended to pop in and out of theaters whenever they pleased. With Psycho,
Hitchcock wanted to create an event. So, he refused to hold any
pre-release critics’ screenings, let alone a premiere. He forced movie-theater
owners to sign contracts demanding zero tolerance of any moviegoer expecting to
enter the theater once the film started. He launched the film’s release with a
massive publicity campaign that stipulated in newspaper, radio, television ads,
and posters in theater lobbies: “No one . . . but no one . . . will be admitted
to the theater after the start of each performance of Alfred Hitchcock’s Psycho.”
He recorded announcements to broadcast
on radio and through loudspeakers at theaters warning Psycho audiences
not to reveal the ending to their friends. The public ate it up. They formed
lines around the block, kept the movie’s secrets to themselves, and turned Psycho
into a worldwide phenomenon. Can you imagine any of this happening in our era
of wall-to-wall social media, instant gratification, and gleeful spoilers? Neither
can we.
6) Hitchcock
Revealed More by Showing Less
Hitchcock
may be known best for cinematic suspense and thrills, but he was equally superb
at finding suspense and thrills in eroticism. That long, long, long nuzzle and
kiss between Cary Grant and Ingrid Bergman in the ’40s spy thriller Notorious
sizzles over six decades later. When gorgeous adventuress Grace Kelly slyly
offers retired jewel thief Cary Grant his choice of leg or breast during a
picnic above the French Riviera in To Catch a Thief, she’s offering a bit more than cold
chicken. Sexy spy lady Eva Marie Saint seduces fugitive Cary Grant aboard a
posh train, purring, “It’s going to be a long night . . . and I don’t
particularly like the book I’ve started. You know what I mean?” Yeah, we do. And,
without a bit of nudity or tawdry grappling, doesn’t Janet Leigh’s long lunch
break tryst in a cheap hotel with boyfriend John Gavin in Psycho reek of
backstreet eroticism? And the chilling spin Anthony Perkins as Psycho’s
own Norman Bates puts on the line, “My mother and I were more than happy
. . . ” tells you more than you need to know about that relationship.
Hitchcock is either my favorite director, or my second-favorite director (behind Steven Spielberg); flip a coin.
ReplyDeleteI've got every single one of his movies, and am feeling the itch to watch my way through them all again at some point soon.
And let's not forget that Alfred Hitchcock inspired Stephen King.
ReplyDeleteI believe that he admits in the intro of EVERYTHING'S EVENTUAL, that his story AUTOPSY ROOM 4, was inspired by an episod of Alfred Hitchcock presents.... episod : BREAKDOWN (1955), that was remade in 1985 :)
>>> http://club-stephenking.fr/558-filmographie-alfred-hitchcock-1955
>>> http://club-stephenking.fr/559-filmographie-alfred-hitchcock-1985
You are absolutely right -- King was greatly inspired by Mr. Hitchcock.
ReplyDeleteJust watched the movie "Hitchcock." GREAT STUFF! Made me think often of King.
Good eeeevning, and welcome back once more. Unfortunately, it's in moments such this that one hardly knows where to begin....
ReplyDeleteOkay, dropping the act. It's funny to come upon this entry just as I decided to dive into what I consider the definitive bio on The Master of Suspense: Patrick Mcgilligan's Alfred Hitchcock, a life in darkness and light. It's the best in that it explains a lot of wher he learned his techniques and why he made the stories he made. One of the best observations is the impact growing up in war time Britain had on the director.
For now, just some random thoughts:
"brutally killing-off the film’s sympathetic heroine—and biggest star—less than half way through the action".
I'm afraid that's disregarding the original morality of the slasher/horror genre as a whole. It's no longer "in" as much as it was in earlier times, the morality of horror as a genre still tends to extreme OT (Old Testement) style. Technically, it's the main reason most audiences put up with "all that stuff".
Puzzled trivia: I don't know, but did I once here that for filming the schoolyard scenes in "Birds" someone had the dumber than thou idea of somehow attaching live bloody birds to the actors? Good grief!
ChrisC
If you're referring to Jennifer Leigh's character in Psycho as the heroine that gets knocked off, that was not Hitchcock's call.
DeletePsycho was a book by Robert Bloch. Hitchcock's script deviated not one iota from the Bloch story. So, while we can credit Hitch for the directing and cinematography, every facet of the suspenseful story must be credited to Bloch.
Janet Leigh, but yes, that's a very valid point.
Delete