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Hitchcock Review

Biopics take on a new personality when the subject is an admired figure or, worse still, a personal hero. Alfred Hitchcock’s well-deserved moniker, “The Master of Suspense,” does little to fully capture the elevated place of regard he holds with cinephiles who count themselves devoted fans, which is to say cinephiles. Sacha Gervasi‘s Hitchcock narrows the scope of the director’s life to the production of arguably his greatest film: Psycho. The film covers the lifespan of Psycho from inspirational inception to the labor pains of production, and finally its glorious delivery. Some may balk at the idea of a Hitchcock biopic covering such a short period of the man’s life and indeed only one movie from the intensely prolific director’s canon. However, this seemingly reductive approach is actually quite fitting considering the turning point that this one film represented and the inherent metaphors that can then be extrapolated from the production experience. Psycho was one of the riskiest endeavors of Hitch’s career. He was nearing the end of his professional life and wasn’t commanding as much studio confidence as he once was. It was at this precarious era that he decided to make, and self-fund, a film that not only challenged the conception of Hitchcock as an artist, but indeed changed the landscape of film itself. The studio refusing to fund the movie fed his lifelong insecurity and the tricks employed to sell Psycho to audiences were a function of his overarching commitment to publicity. So yes, the choice to […]

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published: 01.29.2015
published: 01.28.2015
published: 01.28.2015
published: 01.28.2015

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