The Paradine Case

Hitchcock delves into the genre of legal dramas with this one…with Gregory Peck as a British barrister who defends a woman he is convinced is innocence…mostly because he’s in love with her. Peck is miscast here, not even trying to fake an English accent. We know he can pull off a good “lawyer” act (as he does flawlessly in To Kill a Mockingbird), but he just doesn’t even seem to be trying here. Laughton and Barrymore are hardly used at all…I’m sure they were just cast for big name appeal…their roles are both minute, especially Barrymore’s. The one saving grace to this film is the plot. It’s a strong story that holds up through the years. Not packing as much of a “thriller” punch as most Hitchcock titles, this one is more about the drama and less about the suspense, though there is a crucial piece of plot that is revealed in the end. Compared to titles like Billy Wilder’s legal classic Witness for the Prosecution, the ending is not as intense, but the movie on a whole is a fine legal drama.

The Trouble with Harry

I remember how excited I was when I got to this one during my “in order” Hitchcock phase as a child. Coming right between Rear Window (1954) and The Man Who Knew Too Much (1956), and the same year as To Catch a Thief, this one would have to be great, right? Well, to a 10-year-old, it was…for lack of a better term, boring. Why? Because it is a dark comedy and the humor, I guess, was over my head. I was expecting another thriller like the ones before and after it. But, instead I got a sweetly innocent story about a small New England town and a newly widowed single mother. Harry, the title character, is/was her husband and the beginning of the film shows his dead corpse lying on the grass under some autumn trees. How, why, and by whom Harry died contributes to both the story and the humor of this tale. And, watching it again as an adult, I liked it quite a bit. It’s sharp and original and clever. But, it’s not Rear Window. Hitchcock didn’t take that many chances throughout his career. He discovered early on that he was good at and liked directing thrillers so he mainly stuck to that. This is one of the few times he deviated and not only does it showcase Hitchcock’s versatility, it also proves he can poke fun at thrillers…in The Trouble with Harry murder/death is pretty dang funny!

Topaz

At 143 minutes, this is Hitchcock’s longest film. In comparison, North by Northwest is 136 minutes. Anyone who has seen North by Northwest knows there is not a slow second in that film. I don’t think even Hitchcock could say that about Topaz. Set in 1962, Topaz takes place in New York and Cuba, dealing with Cuban/Russian – American/French relations. At times, it is a sharp, clever movie that is as fast-paced as Hitchcock ever was. Sadly, though, more often than not, it tends to drag through the “information” scenes (scenes with TOO much dialogue and too much information that has to be conveyed to the audience). The romance between the French spy (or is he a spy?) and Juanita falls flat. But, there are some moments that one can only describe as PURE Hitchcock. Juanita’s death scene is one of Hitchcock’s best ever. And the sequence in Harlem is also top-notch suspense. With a little more time in the editing room, Topaz could have been one of Hitchcock’s best. Watch it…with the fast forward button not too far from reach.

Torn Curtain

You know how all parents say that they do not have a favorite child. But, you KNOW they do. And, with a favorite, there’s always one that…just rubs them the wrong way. The one they think “what happened here?” all the time. Torn Curtain is my not-so-favorite child. Alfred Hitchcock was, to me, the filmmaker of all filmmakers. I like and admire other directors but Hitchcock will always be tops. And, then there’s a movie I have to justify and even recommend to people like this. It’s not that Torn Curtain is a bad film. It’s a good spy thriller. But, I’d come to expect Hitchcock to not make just GOOD films. I want to see perfection, like I’d usually seen in the past. Torn Curtain most definitely is not perfection. It’s a flawed film that eventually does work, but it takes more effort than it should. From what I know about the making of this one, I know Hitchcock and Paul Newman did not get along. And Hitchcock did not want to cast Julie Andrews. Sure, Hitchcock had been “forced” to work with actors he wasn’t that dazzled with before (think Kim Novak in Vertigo) but usually there was one star he was excited about…which got him through the movie. This time, both of his stars were not his favorites. Did that affect the film? Was Hitchcock so blinded by disappointment for the actors that he could not see his way to make a better film? Well, that’s one way to look at it. The story here is about an American scientist who fakes defecting to East Germany in order to get at the mathematical formula of a famed scientist on the other side of the Iron Curtain. The film has some great moments in it...the most notable being the killing of an East German agent who finds out the scientist is not legitimately defecting. Sadly, though, the great moments are too far and few between to call this a great Hitchcock movie. Thankfully, the Master of Suspense did redeem himself six years later with Frenzy. I’m not even going to acknowledge Topaz, which came in-between… Topaz, sadly, is another one of my unloved Hitchcock children.

Rope

Honestly, Rope is far from my favorite Hitchcock film. It is slow-ish and more “talkie” than most other Hitchcock movies…relying more on dialogue than action for its suspense. But, after viewing it again recently, I found that even one of the less satisfying films by the preeminent thriller director Hitchcock is STILL better than most of the thrillers made today. The story is loosely based on the Leopold and Loeb murderers…the two University of Chicago students who decided commit the perfect murder to prove they can because they are intellectually superior humans. So, at the beginning of the film, a murder takes place. And the rest of the film is a will-they-get-caught-or-won’t-they as they entertain guests (including the victim’s parents!) in the same room where the body is hidden. This is one of the films Hitchcock used as an experiment. It’s his first film in color and, like Dial M for Murder’s attempted use of 3-D, the director tries something he’s not done before here. He uses ONLY nine takes to film the almost hour and a half film. These long takes, on their own, do a great job of building to and adding to the suspense. We almost feel like we’re right there…in the apartment…one of the guests watching this story unfold. So, instead of choosing one of the more lame and overly-predictable thrillers made today, try this one. I cannot say it’s Hitchcock’s best but it sure beats most everything else!

The 39 Steps

Praised as the first true Hitchcock masterpiece, this is a great spy thriller, though I wouldn’t actually label it as one of Hitchcock’s best. What I would say is that this is probably the film that sealed Hitchcock as the main director of the thriller genre, because it is a strong thriller and also because it was a box office hit. The story follows Robert Donat’s character, who’s on the run for a crime he had nothing to do with. Enter Madeleine Carroll who at first provides an excellent foil but then also becomes a willing love interest. It’s a great movie with two wonderful performances by Donat and Carroll. In addition to being one of the first Hitchcock films to use the “wronged” man as a theme, it also is probably the first use of something later coined as the MacGuffin, a plot device that is used to move the story along but actually, it’s of no true significance to the story. Here, the MacGuffin would be the formula inside the mind of Mr. Memory. The 39 Steps is a fast-paced thriller that really keeps the audience guessing right until the very end…and one of the best of British Hitchcock.

Saboteur

One of Hitchcock’s best uses of big finales…this one taking place on the Statue of Liberty (OK, not the REAL Statue, but this IS a movie from the 1940s!). Later in his career, he would shoot suspenseful scenes at the United Nations, Mount Rushmore, and the Golden Gate Bridge, and earlier in his career…back in England…he shot a great scene in Blackmail at the British Museum. The ending, somewhat, makes up for this one being a little slower than us Hitchcock fans had become accustom to. Saboteur is a good Hitchcock film and a great spy thriller, though I feel it could have used a little more time at the editors. Again, we have a plot that revolves around a wronged man…this time, it’s Robert Cummings who gets falsely accused for an act of sabotage and spends most of the movie running from the police and the REAL bad guys. This is a must for any thriller fans. And, of course, for all Hitchcock fans, but don’t be surprised if you’re not just a tad disappointed.

Stage Fright

A classic Hitchcock film that has a perfect cast but somehow doesn’t get the due it deserves. Made at the end of what I would call one of Hitchcock’s “off” periods (his biggest stinker Under Capricorn comes right before this one in 1949 and in 1951, Hitchcock makes Strangers on a Train which saves his ailing career). This film features many of the trademarks Hitchcock aficionados have come to know and love in his later films…the “wronged” man, the love interest, fair amounts of humor for comic relief, and a thrilling ending. So, why is it not up there with Rear Window and North by Northwest? Well, it’s not glitzy. Even though it’s about the theatre industry in London, it doesn’t shine like Hitchcock’s better-known works. I would say that has to do mostly with the acting. All of the performances here seem adequate but not stunning. Wyman and Sim are spot-on when playing the father-daughter act, but aside from that, they all seem lost in the script. Regardless, it’s a must-see for all thriller fans!

Foreign Correspondent

The second film Hitchcock made in America was really his attempt to help the WWII effort in England (it was made before America entered the war). Joel McCrea plays a naïve, inexperienced journalist who somehow gets caught in a spy ring. By far, the best part of this one is the ending, among the windmills of (what is supposed to be) Holland. Unfortunately, Hitchcock never worked McCrea again…they made a good team. McCrea seemed comfortable with the material and Hitchcock used his character well. Not one of the major Hitchcock films, but a must-see regardless.

Marnie

If you read my annotation on The Birds, you know Tippi Hedren is not my favorite actress. But, compared to her lackluster performance in The Birds, she shines here. It’s the script in Marnie that I have trouble with. When this one came out in 1964, it didn’t do as well as expected and was not raved by the critics. As with Vertigo, both the public opinion but mostly the critical opinion, time has been kind with Marnie. Some critics now hail it as one (with Vertigo) of Hitchcock’s masterpieces. I would not go that far. Yes, Hedren is better, but she’s still not good enough to carry a film. The plus here is that unlike The Birds’ Rod Taylor (who is just so-so), Sean Connery provides a stronger counterpart for Hedren’s weak-ish acting. But, a masterpiece? Have these critics seen Notorious or Shadow of a Doubt? As I said, Marnie’s biggest issue, in my humble opinion, is the script. The screenplay here is lagging considerably, especially in the middle. The film starts off well and moves along at a good pace. Then, somewhere around the time Connery begins helping Hedren with her many problems, the story almost comes to a halt. Hitchcock saves it with a tense ending, but I admit I do expect more from The Master than just a good beginning and ending. So, you might be asking, why do I keep writing reviews for films that I’m not in love with? Well, first of all, I like them. They are great movies. They are just not up to Hitchcock’s usual HIGH standards.

Lifeboat

In Dial M for Murder, Hitchcock shoots an entire film on one set. In Rope, he not only just uses one set, he also experiments with long takes…using only 5 or 6 takes to complete a full-length feature. Where did he get these ideas from…? Well, in 1944, four years before Rope and ten years before Dial M For Murder, there was Lifeboat. Based on a John Steinbeck story, this film takes place IN A BOAT at sea. A ship has gone done (it happens before the movie even begins) and we see Tallulah Bankhead in a small-ish dingy, adrift. As the film progresses, more and more people find their way to the lifeboat, including a German, who might or might not be captain of the ship that bombed the American ship, sinking it. For an hour and a half, this film deals with the way these people all get together and relate with each other and the impending doom they face if not rescued. A well done, thought provoking film…that is more drama than thriller, but tense enough to be something from The Master of Suspense.

The Birds

I think the main problem I have with The Birds is Tippi Hedren. I honestly don’t think she works in this movie. I think she evolves some and is better in her second Hitchcock film, Marnie, but here, she’s stiff and very unnatural. Hitchcock apparently saw her in a TV commercial and, in his quest to find a perfect replacement for his favorite leading lady, Grace Kelly, thought Tippi would fit the bill. Really, Mr. Hitchcock? Tippi couldn’t even polish Princess Grace’s shoes in The Birds. Oh well, what’s done is done. Tippi plays a spoiled San Francisco woman who meets an attractive man by happenstance and ends up following him to his mother’s home on the Northern coast of California. Shortly after she arrives, local birds begin to congregate and behave strangely. Eventually, this strange behavior turns into an all-out war, with all types of birds attacking the humans. For suspense, this one is top notch. But, between Tippi’s “off” performance and the dated look of some of the bird scenes (in 1963, the technology Hitchcock used was cutting edge), this one is not one of my favorites in Hitchcock’s long list of classics. But, I still love it.

I Confess

Montgomery Clift as a priest? Really? I like Mr. Clift but I think that’s a tad of a stretch. And, apparently Monty thought so as well because he never seems quite comfortable in his vestments. Pushing that aside, this is a well-done thriller by the man who knows them best, Mr. Alfred Hitchcock. Unlike most Hitchcock films, there are some times in this one where Hitchcock asks us (the audience) to suspend our disbelief. I mean that there are quite a lot of “coincidences” that we are just supposed to believe are meant to be. All in all, a solid thriller with a cast of interesting character and one semi-unbelievable priest. Actually, since I like Clift as an actor, I wish he would have worked with Hitchcock again. I think they would have worked better together if Monty had a role he felt more suited for.

The Wrong Man

The “wrong man” (or “wronged”) man has always been a running theme in Alfred Hitchcock’s films. From 1935’s classic The 39 Steps right up to Frenzy in 1972, Hitchcock had been thrilling audiences as they follow along a story about a man accused of something he didn’t do. In 1956, Hitchcock made the ultimate “wronged man” movie…giving it a very appropriate title and look. The look was that of a documentary…black and white (but that was still pretty common in the mid-50s), dark, humorless (which none of Hitchcock’s prior films had been), cameo-less (no Hitchcock peeking around a corner in this one), and lacking the fast-pacing of most of Hitchcock’s films up to that point. The director chooses everyman Henry Fonda to play his hero—the “wrong man—this time around. Fonda is perfect in this role since he’s adapt at morphing into any type of persona. Cary Grant, a Hitchcock regular, would have been way to sleek for this role. Jimmy Stewart, even, would have lacked the ability to enter the character with his tall, imposing stance. Fonda has the right look and build to play someone that just might look like the other guy…someone who is the ideal husband and father but could also look slightly sinister in the right light. The film starts off by showing Fonda’s routine…work as a musician in a nightclub until early morning then home where wife (also perfectly played by Vera Miles) is already sleeping...discussion with wife about money problems in morning…etc. Once Fonda finds himself in a mistaken identity mess when he is spotted in an insurance office as a former robber and arrested, Hitchcock mixes the plot with quite a bit of police procedures which offer insight into not only what criminals go through but also how law enforcement officers handle the daily grind. If you want to watch the quintessential Hitchcock film, rent North by Northwest, another “wronged” man film and much more typical of The Master of Suspense’s technique. If you want to watch a good film where Hitchcock experimented with the art of cinema and his own style, watch this one!

Family Plot

OK — it’s not Hitchcock’s finest hour. But, this is his last film and he was not in the best of health when he made this one, so a little “understanding” is in order here. In 1976, when Family Plot was released, Hitchcock had been working as a filmmaker for more than six decades, had over 50 features under his belt, and was well into his 70s. Not that shabby of a career in a business that does not exactly promote longevity. So, we can forgive Family Plot for not being his finest work…but still a more-than-decent thriller. I don’t want it to sound like I feel Family Plot is an awful film. It most definitely is not. It’s a sharp, clever caper/romantic/psychic thriller that would be a shining moment for any mainstream director. It’s just Hitchcock’s work has held him up to such high standards that a film like this doesn’t exactly live up to his Rear Window or Psycho days. Oh well, getting past all this, like I said, this is a captivating and entertaining film that does have its fair share of thrills and surprises. It has several “Hitchcockian” scenes where the Master comes back to life and uses the camera to increase suspense like the good old days of North by Northwest. Basically, the plot revolves two interwoven stories: one revolves around a psychic who uses her “powers” to scam clients out of money and the other about a kidnapper and his wife. There are some pretty clever plot elements…like the way the kidnappers hide their hostages…and a lot of typical Hitchcock comic relief…provided mostly by the psychic and her befuddled boyfriend who works as her sometimes-assistant and a sometimes-cab driver (even though he claims he’s really an actor). A must for all Hitchcock/thriller fans…but not the one to start with if you want to get the feel of the Master’s best work.

Spellbound

Ingrid Bergman and Gregory Peck? In the same movie? I should be in heaven, right? Well, almost. Spellbound is a tough film for me. I love it. It’s great. It’s one of Hitchcock’s masterpieces. But, there’s just something about it that rubs me the wrong way. Maybe it’s too technical. Since Bergman plays a psychoanalyst, there is a lot of medical talk and psychiatric terminology. Or, maybe it’s too rooted in the world of psychology, and sadly, since that is something I know little about, I’m just not interested. Well, whatever, watch it and let me know. Bergman plays a female (obviously) psychoanalyst in a mental facility where the old director is retiring. Enter Peck as the new director…but there is something odd about Peck that Bergman can’t quite put her finger on (kind of like my problems with this movie…!). Once Peck’s idiosyncrasy reveals itself to Bergman, she makes it her mission to find a solution. I definitely still recommend Spellbound. And maybe the more people who watch it will clue me in on what it is that bothers me about this film. Don’t worry – it’s an excellent movie with a wonderful cast. I just need to lay on a couch and tell Ingrid Bergman my troubles…

Mr and Mrs Smith (1941)

In this romantic comedy, directed by Alfred Hitchcock, a married couple find out their marriage was not legitimate and they proceed to go their separate ways, as if they were no longer married. Let me repeat that first part again…in this romantic comedy, directed by Alfred Hitchcock. Yes—THAT Hitchcock. The Master of Suspense known for films filled with murders and intrigue did make ONE romantic comedy. So, even though Mr. and Mrs. Smith is not the best comedy ever made, relish it since it is the one and only romantic comedy directed by Hitchcock.

Vertigo

Vertigo is not an easy film to like. This might be why when it first was released in 1958, it was not one of director Alfred Hitchcock’s most successful films. It also is not an easy film to forget and ignore. As years passed, critics began to see the genius in the film and began lauding it as one of Hitchcock’s most brilliant works. What makes it so controversial is that when James Stewart’s character becomes obsessed with a woman he is assigned to follow, he tries to recreate another woman to look like his obsessed love. It’s not exactly the best statement for women’s lib. But, I feel that Hitchcock knew that and he knew that audiences would be shocked and disturbed. An ordinary film comes and goes but one that gets under the skin can never be forgotten. This is not to say that, cinematically, this film is not deserving of all of its adulation. It most definitely is, but the bazaar-ness of the movie kept it alive in the minds of the audience, allowing them to give this classic a much-deserved second chance.

Psycho

Next time you’re in the shower, make sure Norman Bates or his mother are nowhere to be found. Ranked number one by the American Film Institute’s 100 Years, 100 Thrills, this Alfred Hitchcock movie still stands, even after 40 years, as one of the most scary, if not scariest films of all time. Psycho is not a horror film—it is just a fast-paced thriller that thrills a little more than most Hitchcock films. Also contributing to the "horror" quality are a very memorable ending and one of the most copied, talked-about, and studied film scenes ever…the shower scene. Hitchcock took quite a few chances when making Psycho. First, his leading lady Janet Leigh is out-of-the-picture about a third into the film. Then, the director chose to shoot the film in black and white, something that was not done that often in 1960. Hitchcock also cast lesser-known actors to play other key role, especially then-unknown Anthony Perkins as Norman Bates. Those risks paid off and placed Psycho at the top of Hitchcock's best films.

Rear Window

Rear Window stands as the first highly successful film director Alfred Hitchcock made after a string of critical and commercial flops in the late 1940s and early 1950s. And what a comeback it was! James Stewart, who was appearing here in his second of four Hitchcock films, plays L.B. Jefferies, a man whose leg is broken and his heart is torn between his lady love (Grace Kelly) and his wild, adventurous travels as a freelance photographer. With the broken leg, Stewart is confined to a wheelchair with nothing better to do than look out the windows of his courtyard apartment. While looking out at all hours of the day and night, he sees something that he cannot explain. Was what he saw a murder or just a coincidence? This film, like other Hitchcock films Dial M for Murder and Rope, has the capacity to be a mundane movie, since most of the filming takes place in one room. But, in the hands of master director Hitchcock, mundanity never even enters the picture. The courtyard becomes an intricate part of the story, allowing Hitchcock to open up the movie beyond just Stewart’s apartment. Hitchcock also uses the perfect camera angles to heighten suspense at ever turn. Not only one of Hitchcock’s best, but also the film that marked the return of the true Master of Suspense.

Dial M for Murder

For a movie that takes place all in one small apartment (and mostly in one room of that apartment), this film sure has enough suspense and entertainment to fill anyone’s appetite for a good thriller. Director Alfred Hitchcock used this “one room” confining effect also in his 1948 thriller Rope, loosely based on the Leopold/Loeb murders. In Rope, Hitchcock seemed to be forcing the camera work around the room…seeming lost at times on which action to focus. In 1954’s Dial M for Murder, Hitchcock takes what he learned in Rope and improves on it. The camera is more fluid and less confined to the small area. The interaction with the characters does not seem too “crowded” as it often did in Rope. At times, in Dial M For Murder, the audience forgets this is a movie set mainly in just one room. This film is often overlooked in the Hitchcock filmography, mostly because it is not one of his best—but, that does not mean it’s not a good thriller. It just means Hitchcock directed so many good films that some of the smaller ones don’t get the attention they deserve. As for the plot of Dial M for Murder, you will just have to rent it and find out……

Suspicion

Can Cary Grant be a murderer? That is the question director Alfred Hitchcock attempts to answer in this film. Grant plays wandering playboy Johnny Aysgarth who catches the eye of rich, dull Lena, played in her Oscar-winning role by Joan Fontaine. The question that continually plagues the audience, and eventually Lena, is why did Johnny pick her. One of the more obvious reasons is her money, something which becomes almost a given after Johnny pawns some wedding gifts to gamble. The major flaw in this film is the end, but that is not the fault of Hitchcock nor the actors. Hitchcock wanted to remain faithful to the book this story is based on (Before the Fact by Francis Iles) and keep the dark ending, but his producers had trouble dealing with Cary Grant as a murderer. Even with that disappointing final scene, this is still a taut, tense thriller that will keep the audience guessing.

To Catch a Thief

Cary Grant. Grace Kelly. The French Rivera. Separately, all three things look pretty darn good. Together…watch out. Director Alfred Hitchcock knew how to capitalize on the beauty of all three when he made To Catch a Thief—Grant is never more handsome, Kelly is never more beautiful, and the Rivera is so alluring it just seems to call out to you to come and dive into its beaches. The story of the film revolves around a series of recent cat burglaries, which may or may not have been done by former thief Grant. Kelly plays a young socialite who enjoys teasing and seducing Grant, especially after she finds out he used to be a burglar. Hitchcock also teases the audience here—much of Thief’s dialogue is done tongue-and-cheek. Grant is perfect for that “light” tone…he has already proven in other Hitchcock movies (Suspicion and Notorious) that he can play the dark, brooding leading man. In Thief (and then later North by Northwest), Grant takes on a more satirical, even jovial persona that makes him more appealing to the audience and to his leading lady. Watching To Catch a Thief is just pure fun…fun to watch Grant and Kelly play cat-and-mouse and fun to imagine yourself in the midst of picturesque France.

Rebecca

Alfred Hitchcock’s first film made in America, with producer David O. Selznick of Gone with the Wind fame, sealed the director’s fate as an established and successful filmmaker. Rebecca won the Best Picture Oscar in 1940, even though Hitchcock was overlooked as Best Director. This is not to say the film is without flaws. Joan Fontaine is supposed to play the innocent, naïve female lead, but she always seems much too old and sophisticated for the part, even though she does her best to seem demure. Aside from that, the film is a great thriller…one that will stand the test of time as a solid Hitchcock thriller. Laurence Olivier is pretty perfect as Maxim de Winter—we buy him as a tormented man—and Judith Anderson shines as the evil, sinister Mrs. Danvers. And, of course, Hitchcock’s camera captures the right tone and mood from the Daphne Du Maurier novel, allowing us to see Manderlay as a place of both happiness and nightmares.

Frenzy

When director Alfred Hitchcock shot Frenzy, he was in his early 70s and was at the end of a filmmaking career that began in the 1920s in England. After Hitchcock left Britain behind for a career in America (his first film in the U.S. was 1940’s Rebecca), he rarely looked back. Frenzy is a return to London, with the film shot there and starring an all-British cast. This movie does not boast any glitzy movie stars or any of the Hitchcock elegance of many of his previous films, but displays a rather dark, violent side unlike anything the director had shot before. The finished product results in a taut and intelligent thriller, one of the best of Hitchcock’s career and definitely the best of his later films. The movie begins with a body found, washed ashore in the Thames River. The corpse has a necktie around its neck, identifying the murder as another “necktie” serial killing. Through a series of twists and wrong turns, an innocent man is accused of the murders, which has been a common Hitchcock plot line over the course of his career (The Wrong Man and North by Northwest, in particular). The difference here is that early on in the film, the audience becomes privy to who is the guilty party and who is being framed. Knowing this before most of the cast, we are left squirming in our seats, waiting for the characters to catch up with what we already know. Also, unmasking the villain towards the beginning of the film allows the audience to focus less on plot and more on character and the cinematic style that makes Frenzy a magnificent thriller.

The Lady Vanishes

This is one of the films that sealed Alfred Hitchcock’s destiny early on in his career, along with The 39 Steps. The beginning opens a little confused and disorganized but once Hitchcock moves the action to a train, everything comes into place. The story is simple enough with a woman going missing on a train. The one woman who talked with the vanished lady makes it her mission to find out what happened to this missing woman. All of the tell-tale Hitchcock signs are here…mistaken identity, the “wronged” man/woman, and, of course, a little romance and humor. Some elements of the film almost seem “screwball” in how outlandish they are, but since it is a good story with good characters, we allow Hitchcock to take us along for the ride.

Shadow of a Doubt

Idyllic small-town America turns ugly in this Hitchcock masterpiece, the film which the director himself even considered his favorite. The film begins with Joseph Cotten’s character Uncle Charlie, one of the most devious and sinister characters in cinematic history, heading from the East Coast to stay with his sister in Santa Rosa, CA. Teresa Wright plays his niece and namesake, who at first is excited about her uncle’s appearance but soon discovers that evilness hides under the surface of his kind persona. In the beginning, there is doubt in the minds of the audience about the accusations against Charles. But, as the audience grows more and more suspicious, so does Wright’s character. Santa Rosa becomes a character itself by lending a “perfect” atmosphere around the town while something purely devilish is brooding within. This is one of the darkest Hitchcock films, mostly because of the way Cotten portrays Charles with cool, calculated depravity.

Strangers on a Train

When British director Alfred Hitchcock’s success in movies finally led him to Hollywood, he enjoyed a string of hits in the late 1930s and early-to-mid-1940s. After the romantic masterpiece Notorious, the director’s career hit a slump that lasted years, finally ending with the critical and public triumph of Strangers on a Train. The film is one of Hitchcock’s finest works…it encompasses everything a thriller should plus all of the usual “Hitchcockian” elements that make an ordinary thriller extraordinary. The title says it all…two men meet randomly on a train. One is a well-bred spoiled drifter (Robert Walker) and the other an estranged husband (Farley Granger) who desperately wants to leave his philandering wife behind and start his life over with a new love. Hitchcock’s use of camera and light are top-notch here. Scenes where Granger catches Walker spying on him are magnificent, with Walker increasingly portrayed as a psychopathic just by the camera techniques Hitchcock uses. There is a reason this film put Hitchcock back on the map as one of the best directors in the world…rent this one and see for yourself!

North by Northwest

Being a big Hitchcock fan always puts me in a tight place when people ask me about my favorite film. Of course, it would be a Hitchcock film, but which one? When the pressure heats up and I am cornered, I would confess that this film would have to fit the bill of not only my favorite film, but also, more importantly, my favorite Hitchcock film. The reasons? Well, it has every quality that Hitchcock is famous for. It has the comic element. It has the mistaken identity element. It has the "wronged" man element. It has what is commonly known in Hitchcock circles as the MacGuffin (some aspect of the plot that is totally irrelevant but succeeds in distracting the attention of the audience). And, it has romance. Basically, this is the film Hitchcock has been working up to his entire career. And, boy does it show. The performances showcase some of the finest work Hitchcock has ever filmed, especially "wronged" man Cary Grant, never looking more debonair, even when he's running from crop-dusting planes in a suit and tie. This was Grant's fourth film with Hitchcock and the two have never worked better together. My VERY close runner-up for best Hitchcock film would be another Grant movie, Notorious, from 1946. Even though Grant is near perfect in that earlier film, he simply radiates perfection in this movie. His comic timing, facial expressions, tone of voice, and mannerisms are all seamless. So, if you want to see a great movie, rent any Hitchcock film. If you want to see the best of Grant and Hitchcock, rent this one!

The Man Who Knew Too Much (1956)

This film is one of director Alfred Hitchcock’s more underrated films, especially since its only notoriety comes from introducing the song Que Sera Sera to the general public. Even though the famed director often copied styles and plot lines from some of his previous movies, The Man Who Knew Too Much stands alone as being the only true remake Hitchcock ever filmed—it is an updated version of Hitchcock’s own 1934 thriller of the same title. Taking the story of the 1934 film and enhancing it with location and character changes, the 1956 film is a terrific example of how a good film can become a great film. The movie stars Doris Day and James Stewart as an American couple visiting the French Morocco with their young son. After befriending a British couple, they soon find themselves embroiled in a series of terrifying events, including the kidnapping of their son. In addition to Hitchcock’s filmmaking, both Day and Stewart (appearing in his third of four collaborations with Hitchcock) make this film much more than just a standard thriller. The scene in the Royal Albert Hall in London stands out as one of the most intense, nail-biting scenes of pure suspense ever filmed. There is no dialogue and the scene lasts several minutes, but the anxiety of Day’s performance along with the climatic direction by Hitchcock keeps the viewer glued to the screen.

Notorious

Over the course of his career, Hitchcock followed his trademark “thriller” genre fairly closely. He made one totally non-suspenseful work early in his career (Mr. and Mrs. Smith from 1941 is a screwball, romantic comedy) and some of his works had more intense thrills than others did. On the whole, though, Hitchcock’s films made his audience sit on the edge of their seats and Notorious (1946) is no exception. Yet, it is somewhat unique since it is the closest Hitchcock ever came to making an outright dramatic love story. Starring Cary Grant and Ingrid Bergman (both of whom had worked with Hitchcock prior to this film), Notorious is a masterpiece on every front. It works perfectly as a thriller and passionately as a love story and it features both supreme directing and stellar acting performances. Bergman plays the daughter of a former Nazi who is convicted for his wartime crimes. Her father’s connections place Bergman in a perfect position to play spy for the U.S. government, which she does under the watchful eye of governmental agent Grant. A love affair between Bergman and Grant cools off after her assignment involves her becoming more than just an acquaintance with one of her father’s friends. Hitchcock’s sense of style is unmatched in this film. The camera movements add to both the intensity of the romance (following Grant and Bergman from room to room as they continue their embrace) and the drama of the suspense (following a key in Bergman’s hand).