MOVIE OF THE WEEK (12/7/12): HITCHCOCK
KEY CAST MEMBERS: Anthony Hopkins, Helen Mirren, Scarlett Johannson, Jessica Biel, Toni Collette, Michael Wincott, Danny Huston, Michael Stuhlbarg, James D'Arcy, Richard Portnow and Kurtwood Smith
WRITER(S): John J. McLaughlin (screenplay); Stephen Rebello (book – "Alfred Hitchcock and the Making of Pyscho")
WRITER(S): John J. McLaughlin (screenplay); Stephen Rebello (book – "Alfred Hitchcock and the Making of Pyscho")
DIRECTOR: Sacha Gervasi
THE PLOT: Based on Stephen Rebello's book Alfred Hitchcock and the Making of Psycho, Hitchcock stars Anthony Hopkins in the titular role of the legendary British filmmaker living in Hollywood with his wife/partner/screenwriter Alma Revelle Hitchcock (Helen Mirren). A bit down in the dumps after the commercial failure of his latest film, Hitchcock knows people are rumbling about whether or not the great director may be over-the-hill.
Determined to prove his critics wrong and re-discover his love of filmmaking, Hitchcock is looking for a new project and finds it in the form of "Pyscho," the book written by Robert Bloch inspired by the notorious murders committed in Wisconsin by Ed Gein (Michael Wincott). A scandalous situation, no one – not Paramount Pictures studio head (Richard Portnow) to whom Hitchcock owes one more picture, not Motion Picture Association of America censor Geoffrey Shurlock (Kurtwood Smith), not Hitch's own assistant Peggy (Toni Collette) – seemingly wants him touch the project.
Alma and his agent Lew (Michael Stuhlbarg) is more supportive, however, offering him support as moves forward. And once he gets underway, Hitch finds his leading male in the form of Anthony Perkins (James D'Arcy) and leading lady who might be perhaps his best blonde actress to date in the form of Janet Leigh (Scarlett Johannson) – even if fellow actress Vera Miles (Jessica Biel) may be growing a bit wary of him.
But while Hitchcock may be undertaking the project of his life, he may have another issue he needs to concern himself with: His wife's relationship with her good friend Whitfield Cook (Danny Huston), who hopes to pitch the director a film project of his own ...
Determined to prove his critics wrong and re-discover his love of filmmaking, Hitchcock is looking for a new project and finds it in the form of "Pyscho," the book written by Robert Bloch inspired by the notorious murders committed in Wisconsin by Ed Gein (Michael Wincott). A scandalous situation, no one – not Paramount Pictures studio head (Richard Portnow) to whom Hitchcock owes one more picture, not Motion Picture Association of America censor Geoffrey Shurlock (Kurtwood Smith), not Hitch's own assistant Peggy (Toni Collette) – seemingly wants him touch the project.
Alma and his agent Lew (Michael Stuhlbarg) is more supportive, however, offering him support as moves forward. And once he gets underway, Hitch finds his leading male in the form of Anthony Perkins (James D'Arcy) and leading lady who might be perhaps his best blonde actress to date in the form of Janet Leigh (Scarlett Johannson) – even if fellow actress Vera Miles (Jessica Biel) may be growing a bit wary of him.
But while Hitchcock may be undertaking the project of his life, he may have another issue he needs to concern himself with: His wife's relationship with her good friend Whitfield Cook (Danny Huston), who hopes to pitch the director a film project of his own ...
THE TAKE: Once you get past whether or not Anthony Hopkins looks like the director to you or not (the makeup feels a bit Nutty Professor-ish for better and for worse), Hitchcock does find the actor painting a great portrait of the man and his motivations. In turn, the film does deeper into the man's public persona to reveal his private life while paying tribute to the camera tricks, mood setting and overall dramatic feel to produce an enjoyable finished product.
While there are some elements of the film that are a bit love it or leave it – the aforementioned makeup, the Hitchcock "talking" to Ed Gein portion of the story – Hitchcock finds Hopkins at his usual best, nailing only the director's voice and mannerisms, but also his notorious inner drive, obsession with finding the perfect blonde for his lead roles and his curious undertaking with suspense.
The film is actually Mirren's vehicle, however, as director Sacha Gervasi spends a significant amount of time to bring to life the importance of Alma's relationship to Hitchcock, both publicly and privately. Mirren – as was apparently the case in Alma's life – takes the role with vigor and verve, producing a portrait of a woman that was everything Hitchcock needed: A partner, a confidante, a conscience and most importantly, a friend.
Meanwhile, Johansson does an excellent job at showcasing the ideal of what Hitchcock supposedly desired in a leading lady, but doing so in a way that helps enhance the nature of what he really was all about: Feeling appreciated. In turn, this helps showcase the relationship between husband and wife – for while he sought the acclaim of the public and the stars he made famous, she sought the same level of recognition from the one person to her who matter most: Him.
While there are some elements of the film that are a bit love it or leave it – the aforementioned makeup, the Hitchcock "talking" to Ed Gein portion of the story – Hitchcock finds Hopkins at his usual best, nailing only the director's voice and mannerisms, but also his notorious inner drive, obsession with finding the perfect blonde for his lead roles and his curious undertaking with suspense.
The film is actually Mirren's vehicle, however, as director Sacha Gervasi spends a significant amount of time to bring to life the importance of Alma's relationship to Hitchcock, both publicly and privately. Mirren – as was apparently the case in Alma's life – takes the role with vigor and verve, producing a portrait of a woman that was everything Hitchcock needed: A partner, a confidante, a conscience and most importantly, a friend.
Meanwhile, Johansson does an excellent job at showcasing the ideal of what Hitchcock supposedly desired in a leading lady, but doing so in a way that helps enhance the nature of what he really was all about: Feeling appreciated. In turn, this helps showcase the relationship between husband and wife – for while he sought the acclaim of the public and the stars he made famous, she sought the same level of recognition from the one person to her who matter most: Him.
That relationship is what makes Hitchcock a film not just about the famed director, but the team behind some of Hollywood's most suspenseful works.
PARTING SHOT: While not perfect, Hitchcock is a worthwhile undertaking that is as entertaining, suspenseful and quirky as the legend that inspired it.
RATING (OUT OF FOUR BUCKETS OF POPCORN):
Comments
Post a Comment