HITCHCOCK and THE GIRL use cinema to simultaneously observe and attack Hitch whilst airing the dirty laundry of a man who can no longer answer back, writes Ed Frost.
The gripping psychological thriller MARNIE is most likely one of Hitchcock’s lesser appreciated films, as it misses most of the visual horror and obvious suspense of THE BIRDS or VERTIGO. Maria Sell reviews.
Hitchcock’s other great horror masterpiece, THE BIRDS remains an extraordinarily effective exercise in apocalyptic terror, writes Gavin Midgley.
A rarity among Alfred Hitchcock’s films in that he wrote as well as directed it, THE RING is perhaps his first fully rounded feature. Nearly two hours in length, this absorbing tale concerns two boxers competing for the love of a girl, and the resulting emotional see-saw is quite compelling, despite an utterly conventional plot. [...]
With BLACKMAIL, Hitchcock continued to refine his unique ability to mix murder and suspense with generous helpings of comedy. Gavin Midgley reviews.
What is there left to say about the film that was recently voted the greatest movie ever made in Sight and Sound magazine’s prestigious decennial poll? Gavin Midgley has something to say.
This year the festival invited George Perry to give a talk on Alfred Hitchcock before a screening of VERTIGO. Hitchcock’s popularity has never really faded, and Perry is something of a character himself, writes H. Chan.
With THE LODGER, Alfred Hitchcock really began to hit his stride, and he has oodles of fun trying to throw the audience off the scent, writes Gavin Midgley.
A model of restraint compared to his more action-orientated thrillers, NOTORIOUS finds Alfred Hitchcock in a subdued, quasi-romantic mood, writes Gavin Midgley.
Alfred Hitchcock’s favourite plot, the innocent man on the run, is given the most expansive treatment in NORTH BY NORTHWEST. It is THE 39 STEPS on steroids; it is Hitchcock trying to out-Hitchcock himself, writes Gavin Midgley.
“Last night I dreamt I went to Manderley again.” Although it was his first American endeavour, Alfred Hitchcock’s adaptation of Daphne du Maurier’s gothic novel REBECCA displays all the masterful touches of his earlier British classics.
Mismatched lovers, girls who look a bit similar, canny canines, dodgy flats in Brixton … Hitchcock’s THE PLEASURE GARDEN provides plenty of visual cues to what was to come, writes David Perilli.
Hitchcock was a relentless explorer of human limitations – those of his characters, as well as those of his audience. Emma Wilkinson looks at themes of entrapment and suppression in his greatest films.
Against a backdrop of generally stale modern horror releases you’ll find Alfred Hitchcock’s PSYCHO fresher, wittier and more unsettling than ever at this year’s Cambridge Film Festival, writes Patrick Fowler.
Screening in Sawston on day 1 of CFF: Robert Donat stars as “wrong man” Hannay in this, the most popular of all adaptations of Buchan’s novel, which found favour with the author himself despite its many liberties.