Alfred Hitchcock

Exploring Hitchcock’s iconic style through his early film “Blackmail,” an insight into the director’s emerging techniques and themes during the transition to talkies, showcasing elements that would define his later masterpieces.Read More »

Quote:
Alice has a fight with her boyfriend, Frank, a detective, and decides to go out with another man. When they get to his flat, he attacks her and she defends herself and kills him. Frank investigates the case and realizes Alice is the culprit, but so has someone else, and blackmail is threatened.Read More »

Exploring Hitchcock’s iconic style through his early film “Blackmail,” an insight into the director’s emerging techniques and themes during the transition to talkies, showcasing elements that would define his later masterpieces.Read More »

A fictional Alfred Hitchcock narrates an explanation of some of the lesser known cinematic techniques he used in his movies, richly illustrated with clips from his entire 50-year career.Read More »

Synopsis:
American expatriate John Robie, living in high style on the Riviera, is a retired cat burglar. He must find out who a copycat is to keep a new wave of jewel thefts from being pinned on him. High on the list of prime victims is Jessie Stevens, in Europe to help daughter Frances find a suitable husband. The Lloyds of London insurance agent is using a thief to catch a thief. Take an especially close look at scene where Robie gets Jessie’s attention, dropping an expensive casino chip down the décolletage of a French roulette player.Read More »

A couple who have been married for three years are shocked to learn that their marriage is not legally valid.Read More »

A 5-year-old boy finds his uncle’s revolver, partially loads it with bullets, and plays with it in public, unaware of its deadly power.Read More »

When a wealthy woman unwittingly hires a con man and a phoney psychic to find her missing heir, the results are diabolically funny in Alfred Hitchcock’s tongue-in-cheek mystery thriller.Read More »

Quote:
Hitchcock’s long-standing fear of the police is what originally attracted him to a newspaper account of a family man wrongly identified as an armed robber. The Wrong Man pays scrupulous attention to such things as the details of police procedure and the eventual apprehension of the real culprit – before the conviction of the wrongly accused man (Fonda), but after the stress has driven his wife (Miles) to mental breakdown. The result is Hitchcock’s most sombre film, unrelieved by his usual macabre humour; the black-and-white photography and the persecuted Fonda’s sharply chiselled features lend an impressive documentary feel. It’s not generally rated among the master’s best works, largely because of the intractability of the source material (or Hitchcock’s unwillingness to dramatise the events). But there’s still plenty here for Hitchcockophiles: a Jesuitical strain (the man happened to be a devout Catholic), a complicity of guilt (as the wife irrationally comes to blame herself); and it’s pure noir.Read More »