When I began this blog all that time ago, I made it clear that this was not for any sort of academic study or to be a detailed critique of any high standard; it was merely a jaunt, a jolly little saunter through the back catalogue of Alfred Hitchcock's work.
I would begin with a quick introduction to my current mood with a few trivial bits of information thrown in about my attire or my nibbles.
Then I would list the main cast members, the synopsis of the film (I had said something about not giving away any plot details or "spoilers" but I did away with that nonsense!) and then mention a few of the lines within the film which entertained me the most.
Once that was done, I'd thrown in a few comments and anecdotes about the film without dwelling too often on the aesthetics of the occasional male star. How gay.
Finally, my verdict. And that is all it was; MY verdict. I have no pretentious delusions of grandeur about my ability to critique film and all its intricate detail, but I can certainly form an opinion.
Sometimes my ratings would differ greatly from other professional movie reviewers, but, as I always say, if everyone thought the same thing, it'd be a dull world in which everyone loved Titanic! *shudder* That might induce nightmares when my head hits the pillow.
But what is the purpose of a blog like this? It's a fair question. Not much point, to be frank. It entertained me and it kept me off the streets (Oh, how I love to loiter) and it was a hobby of sorts for nearly sixteen months. However, I did want to try and figure out my all-time favourite Hitchcock film, so let's have a look at the results...
The Bottom Four
Aventure Malgache 1/10
Juno and the Paycock 3/10
The Skin Game 3/10
Frankly, they are not utter travesties. There's no Plan 9 From Outer Space or an Anaconda among them. If it's a Hitchcock film, even a 1/10 is more entertaining than anything starring Paris Hilton, for example.
These four just 'punch below their weight', as the saying goes.
It is too hard to pick a top ten, so here are the films which got a 9 or a 10.
The 39 Steps 9/10
The Man Who Knew Too Much (1956) 9/10
North by Northwest 9/10
The Lady Vanishes 10/10
Strangers on a Train 10/10
Rear Window 10/10
The Birds 10/10
Some of those 'nines' could creep higher depending on my mood. I still think Blackmail is one utterly brilliant film, but I shall leave it as my original score so as not to complicate things.
Look at the eight films I gave ten out of ten to! All superb (I know people will disagree and I know some deride The Lady Vanishes for a number of reasons, but I love it!)
The overall winner?
This is the hardest thing to choose.
I have always debated over which of two Hitchcock films is my favourite.
It has always been a toss-up between The Birds and Strangers on a Train - it usually depends on what mood I am in.
But how to choose??
I love both of the original authors - Daphne Du Maurier and Patricia Highsmith - so I cannot use them as a decider. Damn it.
I have often said that if I could ever own just one piece of movie memorabilia, it would be the cigarette lighter 'From A to G' from Strangers on a Train, so that means a lot to me...
When I visited Bodega Bay in 2008, I was in my element, I was so blissfully happy...
The winner is...
It has to be, really. It is so iconic, so technically brilliant for its day and so deeply disturbing. It is celluloid proof of Hitchcock's mastery of the art.
(But I will keep Strangers in reserve, just in case...)
So, What Next?
Well, I have debated doing a blog as I sit through every episode of The X Files (yes, even the awful episode 'Fight Club'!) or, even more daunting, Doctor Who with all the audio soundtracks to the lost episodes - but I shan't do that until I have a laptop or something. It's rather annoying having to watch and then blog later at my PC situated in the kitchen. It'd be more fun to do it simultaneously.
So, for now, I look forward to one day watching Hitch's films randomly and normally - not armed with pen and notepad - to sit down, with the good old Yorkshire Gold tea in one hand and a McVitie's Dark Chocolate Digestive in the other (ready to dunk), with Fizzgig by my side and then be entertained by the genius of Alfred Hitchcock.
In my mind he is, without doubt, the greatest movie director of all-time. He was an entrepreneur, an auteur and a revolutionary. His films will be watched, loved and studied for centuries to come.
I raise my glass.
"To Sir Alfred Hitchcock; the man who scared the bejesus out of me and made me love the world of cinema."
Saturday, August 13, 2011
Title: Family Plot
Studio: A Universal Picture
Screenplay: Ernest Lehman
Source Material: The Rainbird Pattern by Victor Canning
Running Time: 115 minutes
Saturday 13th August, 10:15am
It's Alfred Hitchcock's 112th birthday today! The perfect time to watch his final film. So, this is it... the blog that started in May 2010 is finally coming to an end. I will do a sort of conclusion after this, but I might as well say now that it has been at some times enjoyable and at other times a chore. It's only the write ups which tend to be the hard part - the synopses are almost a waste of time but there's this part of me which feels the need to be reasonably complete. If I was doing this as a great academic study, I would have put even more time into them. However, it is not - it's just for fun.
I was a little hungover this morning thanks to a tad too much wine partaken with my friend Michael last night, but I had to get up early and make a lemon drizzle cake (again - that's the fourth one in the past few weeks!) this time for my mate Rohan's birthday (he shares it with Hitch - that's so cool!)
Once that was out on the cooling wires, I was able to take my mug of Yorkshire Gold tea and then plop myself down on the settee, armed with a pen and notepad, for one last venture.
It's all rather bitter-sweet, really.
Frances - Karen Black
George Lumley - Bruce Dern
Blanche Tyler - Barbara Harris
Arthur Adamson - William Devane
Joseph Maloney - Ed Lauter
Julia Rainbird - Cathleen Nesbitt
Mrs. Maloney - Katherine Helmond
Grandison - Warren J Kemmerling
Mrs Clay - Edith Atwater
Bishop - William Prince
Constantin - Nicholas Colasanto
Andy Bush - John Lehne
Wheeler - Charles Tyner
Parson - Alexander Lockwood
Sanger - Martin West
Blanche Tyler is a spiritualist, or at least, that's what she tells her clients.
She is currently working with the 78 year old Miss Julia Rainbird. Blanche channels her spirit guide 'Henry' in order to contact Julia's late sister Harriet. Apparently, Harriet wants Julia to put things right - 40 years ago, Harriet had given birth to an illegitimate baby and Julia has insisted it be given up for adoption. Julia's guilt forces her to admit she needs to find the heir to the Rainbird fortune and says she will pay $10,000 if Blanche can help find the son.
Blanche agrees and leaves Miss Rainbird's home. Blanche's boyfriend, George Lumley, picks her up and they discuss the case. It appears Blanche is not as psychic as she makes out and uses tips that George discovers through a bit of snooping.
As they drive through the night, they almost hit a tall blonde woman in a black hat and overcoat, but brake just in time.
This woman, named Frances, then goes to the police where she picks up a large diamond. She does not speak to anyone, merely holds all at bay with her gun and passes over notes.
Mr Constantin will be unconscious but in perfect condition when picked up. Just let him sleep off the drug.
Having received the 'payment', she leaves via the helicopter the police have provided. She directs the pilot to a golf course where she alights and heads off into the words to meet her cohort - a crooked jeweller named Arthur Adamson. They dash off with the diamond, leaving the unconscious body of Mr Constantin to be discovered by the pilot.
In their getaway vehicle, the blonde woman removes her hat, wig and six inch heels to show her true colours.
They pull into their garage and head to the basement where they clean up the hidden room behind the false wall in the basement where they had kept their kidnap victim.
He hides their prize within the crystals on the chandelier in the hallway.
Mr Constantin is back where he belongs and he is furious. He wants to know why the cops have not caught the kidnappers. They ask him questions about his ordeal in order to get a clue as to the whereabouts of the place he was held captive - or even to find some description of the people behind the crime.
They have little to go on.
George borrows Blanche's car as he thinks he has found the daughter of Rainbird's chauffeur, the one who got Harriet pregnant in the first place.
He finds Mrs Hannagan working at a department store and he poses as a lawyer named Frank McBride. She tells him that her late father's best friends were called the Shoebridges, Harry & Sadie. Apparently, they moved away after adopting a boy child but sadly died in a fire. They are buried in Barlow Creek Cemetery.
He then visits the graveyard where he discovers the tombstones of Harry & Sadie but also the stone for an Edward Shoebridge who died the same year, 1950. The caretaker of the cemetery tells him that there is no body in Edward's grave and George notes that it's also a much newer stone. George then goes to see a Mr Wheeler, the man who made the headstone. He said it was paid for in cash by a man with a tow truck. At the registrar for births and deaths, George discovers that an application for a death certificate was made, but it was denied as no body was produced. The man who made this enquiry was a Joseph P Maloney - he gets the man's address.
Joe Maloney runs a petrol station and runs it alongside his wife. George goes asking some questions about the tombstone and the supposedly 'late' Eddie Shoebridge. rattled, Joe takes George's number plate down (885 DJU) as he drives off - although it is Blanche's car...
Maloney pays a visit to Arthur Adamson at the jewellery store and calls him 'Eddie'. Eddie is still alive - he just changed his name. He had planned the murder of his parents, but he had got Maloney to start the fire.
A couple of policemen turn up asking routine questions in case he has seen any strange movements of large diamonds in the circuit recently. He says he hasn't, but recommends they try the antique stores instead.
having established Blanche's address from the car's number plate, Frances and Arthur stake out the house and learn that she is a spiritualist. They witness George and Blanche have an argument outside and overhear something about a large sum money - they assume they mean the reward that's on their heads. They realise that something has to be done about these two, but Frances is not comfortable with the idea of murder.
during another séance session with Julia Rainbird, Blanche learns about the man who baptised the boy before his adoption, so George sets off to find the parson who has since become a Bishop and is situated at St Anselm Cathedral. He arrives at the moment when Frances and Arthur, in disguise, manage to drug the Bishop and drag him off in full sight of a congregation. The kidnappers leave a ransom note for $1,000,000 in a prayer book.
Maloney calls up Blanche and tells her is she wants information about Eddie Shoebridge, she must come with George to Abe and Mabel's café up in the hills. They arrive but Maloney is an apparent no-show - however, he did turn up, but only to sabotage their car.
As they retreat down the winding road again, they discover the accelerator has been tampered with and the brakes cut. They manage to swerve the oncoming traffic, narrowly missing the cliff edges and eventually come to a stop after ploughing through a fence and crashing into an embankment. Stumbling carefully back onto the road on foot, they see Maloney drive by - they refuse his offer of a lift as they know he was to blame for the accident. Maloney drives off only to return and tries to run them down. he fails and plummets over the cliff to his doom.
When Adamson learns of Moaloney's death, he says that he and Frances will have to finish them off themselves. She is not happy about this.
George attends Joe's funeral and talks to Mrs Maloney who recognises him from the service station. She is distraught but George tells her that she could be arrested for being an accessory to an attempted murder. In hysterics, she tells him that Eddie Shoebridge changed his name to Arthur Adamson.
Whilst George has to work for the taxi firm, Blanche does some investigating of her own trying to find the right Arthur Adamson. Eventually she locates the jewellers and speaks to Miss Clay, Arthur's assistant. She writes a note for him...
Dear Mr Adamson,
If the name Shoebridge means something to you, please phone 45701..
I have extremely good news for you.
Then, Blanche decides not to leave the note but asks for his address instead so she can see him personally.
She drives by George's work and tells his colleague, Pete, to pass on her news - she has found him and she mentions the address.
When Blanche arrives at the Adamson's home, no one answers the door - because they are about to take the drugged bishop to the drop off point and pick up the latest diamond. She leaves the note on the door and then heads back to her car which, unfortunately, is blocking the garage entrance. She sees Adamson and Frances and is overjoyed at finding them at last. Arthur is aggressive at first but is then surprised to discover that she has not been investigating their crimes, merely seeking him out to tell him about his inheritance! Sadly, the Bishop's unconscious body is seen by Blanche and they have to silence her. Arthur closes the garage door, trapping her and then injects her with the drug to knock her out. They put her in the sealed room and head off for the Bishop's ransom.
Whilst they are gone, George has got off his shift and has followed Blanche via the message she left with Pete. He finds the note on the door, Blanche's car empty with the keys in the ignition and no sign of Blanche. He sneaks around the back of the house and breaks in through a small window leading into the basement. He searches the place and finds Blanche's handbag. As he looks upstairs, he hears the crooks return. He hides and waits and overhears them talk about their plans for killing Blanche - making it look like suicide.
George watches as Arthur checks on Blanche who is apparently still unconscious. Arthur goes to prepare a hose for the 'suicide' and George goes into the secret room where he discovers Blanche awake. When Frances and Arthur come to get Blanche, she fights them off and runs out of the room and she and George seal it closed with the crooks locked inside.
Relieved that it is all over, they know they will get a mighty reward - but an even bigger one if they can return the diamonds.
Something possesses Blanche and she enters a trance. She walks up the stairs out of the basement and into the hall where she finds the diamond hidden in the chandelier. George is now convinced she is actually not a fake psychic., but has actual powers. He goes to ring the police to tell them the good news and also to phone Miss Rainbird to tell her the bad.
George: "Without my research, you're about as psychic as a dry salami."
Blanche: "Nasty. Nasty, nasty."
George: "I'm sick and tired that you have me by the crystal balls."
Blanche: "Leave your crystal balls out of this, George!"
The cops question Constantin about the female partner in crime:
Cop: "How old is she?"
Constantin: "Why? Because if a man my age is gonna get kidnapped by a woman, he wants her to be 25, that's why!!"
The kidnapped Bishop is not ready to be returned to his home due to the pleasant catering provided...
Bishop: "But I haven't finished the chicken!"
Ah, finishing on a comedy. Some people say Hitchcock didn't do many comedies, and it's true in the broader sense of the term. The closest thing he came to screw-ball comedy was Mr & Mrs Smith and to some extent, The Lady Vanishes but he did do a lot of black comedy like The Trouble With Harry, Strangers on a Train and (in Hitch's own words) Psycho.
This film is a much more obvious and recognisable comedy thriller, mainly due to the wonderful central performance by Barbara Harris (whom I had always loved as a child in Disney's Freaky Friday alongside Jodie Foster.
She is the main element of comedy in the film, but there are some deliciously dark toned moments throughout too. Frances proving her gun is loaded in the helicopter by shooting the window, Arthur's reaction to Maloney's death (laughter) and of course the white-knuckle drive down the road - it's sweat-inducing tension, but played hilariously as Bruce Dern tries to control the car and fend off Barbara Harris' manic Blanche.
However, my favourite 'comedy' scene is when Blanche is trying all the people named "A. Adamson" in the phone book. They are either too old, too female, too black or, in one case, too... 'two' - they are twins. Brilliantly edited and played for laughs. Top stuff.
My favourite Hitchcockian touch is the overhead camera above the graveyard as George and Mrs Maloney wander the various paths before meeting up. Hitch is very fond of his overhead shots and he knows how effective they are. It's almost like watching live-action Pac-Man. (No doubt there's an idea for Hollywood... *sigh*)
The darkest scene of all is the attack on Blanche in the garage - suddenly, it's not so funny any more as Arthur overpowers her and injects her with the drug as Frances stands uselessly by - it is the moment when you thoroughly despise Adamson and you certainly don't want him to get away with his crimes. No one manhandles a Disney actress and gets away with it.
Lastly, it's nice for Bruce Dern to have a bigger role in a Hitchcock film. His previous film for Hitch was Marnie in which he played the sailor - nasty!
Fun. It's not Hitch's finest, but as an unexpected 'farewell', it's a thoroughly entertaining romp. 7/10
Saturday, August 6, 2011
Studio: A Universal Picture
Screenplay: Anthony Shaffer
Source Material: A novel entitled Goodbye Piccadilly, Farewell Leicester Square by Arthur Le Bern
Running Time: 111 minutes
Saturday 6th August, 2:30pm
The penultimate film! Isn't this exciting!?
This morning, I finally got around to writing up Topaz. It was even harder because it had been a week since I had watched it and it's not particularly memorable, so I did cut some corners a bit. Frankly, who cares? It's not like students worldwide are using this blog as a study guide or anything.
While I am thinking about it, I must mention that I have checked the statistics to see who reads this blog, where they are from and how they search for it. It seems a lot of visitors are from the U.S.A. and one of the most read pages is for Juno and the Paycock. Are people just Googling rude words and stumbling across my page? I hope not...
Anyway, back to today.
I had been out this morning shopping with a friend; I bought some birthday presents for another friend and ordered some decent footwear in preparation for my trip to the U.K. at the end of the year (I needed something smart yet durable) and had a lovely time. However, I was actually eager to get home to watch this movie in the afternoon as it is a favourite of mine. So very Seventies, but so wonderfully brilliant.
It was a little bitter-sweet to watch after the recent passing of the wonderful Anna Massey. She was a superb actress.
I had a large mug of Yorkshire Gold tea and a small bar of Dairy Milk chocolate. Lovely... lovely...
Richard "Dickie" Blaney - Jon Finch
Robert "Bob" Rusk - Barry Foster
Brenda Blaney - Barbara Leigh-Hunt
Babs Milligan - Anna Massey
Chief Inspector Tim Oxford - Alec McCowen
Hetty Porter - Billie Whitelaw
Johnny Porter - Clive Swift
Felix Forsythe - Bernard Cribbins
Sergeant Spearman - Michael Bates
An M.P. named Sir George is speaking his rhetoric to a fascinated crowd alongside the Thames. He is talking about the abolition of industrial waste into London's rivers and how he'll bring an end to pollution. His speech is interrupted by the sight of a naked female corpse floating down the river with only a tie around her neck.
It's another necktie murder...
Richard "Dickie" Blaney works at The Globe pub in Covent Garden with his girlfriend Babs. He is an ex RAF squadron leader who has found it difficult to find decent work. His boss, Felix Forsythe catches him supping the brandy once too often and is about to fire him. Blaney quits instead and says he'll pick up his belongings later.
Dickie goes to see his mate Bob Rusk at the Covent Garden market who offers him so money, but Dickie refuses. Instead, Bob gives him a tip on the afternoon's horse-race. He can't afford to bet on it and, sadly, it wins - twenty to one. This exacerbates Dickie's already tense mood.
He then goes to see his ex wife at her office. She runs a dating agency, helping lonely people find companionship. Her secretary, Monica Baring, is not particularly welcoming to Dickie as she can sense his aggression.
Brenda agrees to see Dickie but due to his rather terse temper, she suggests Monica takes off early. Brenda offers to take Dickie to her club for dinner - on her!
He agrees but his frustrations flare up once again and he makes rather a scene at dinner. He seems to think the world has something against him.
That night, he has to sleep at the Salvation Army, but he discovers that his ex-wife has sneakily left £50 in his pockets.
The next day, at lunch, a "Mr Robinson" turns up at the bureau whilst Monica is on lunch. It is really Bob Rusk. He is complaining that her bureau won't find him a girl for his perverted ways. She tries to call the police when he gets aggressive.
He tackles her and rapes her, uttering the word 'lovely' over and over again as she recite s prayer to herself. Then he removes his monogrammed tie-pin from his tie, places it into his lapel and uses his tie to strangle the life out of her.
He leaves casually. Seconds later, Dickie arrives to thank Brenda for the cash. The office door is locked on the latch, so he turns and leaves. Monica returns from lunch and sees Dickie leave. She goes upstairs to the office and discovers the lifeless body of her employer.
Dickie calls Babs at the Globe pub and tells her to meet him at Leicester Square at 4pm. Meanwhile, Monica is giving the police a very detailed description of Mr Blaney.
The police find no money in her purse, but some face powder loose - they think it is possible that any stolen money would have traces of the powder on it.
Babs picks up Dickie and they go to the Coburg Hotel. She is surprised he can afford it, but accepts he has somehow got this money and they book into 'The Cupid Room', paying in advance for the night - Dickie asks the porter to get his suit cleaned as it smells from the night he spent at the Salvation Army.
The nest morning, the papers are full of articles about the latest murder. The porter recognises the description of the suit he cleaned and calls the police. However, Babs and Dickie have also seen the newspapers that morning and have fled.
In a nearby park, Dickie professes his innocence to Babs and she believes him. An old RAF buddy named Johnny Porter finds them in the park and tells them both to come up to his apartment. His wife, Hetty, is up in arms as she believes Dickie is guilty and has fears about him staying with them. Hetty and Johnny are planning on opening a pub in Paris called The Bulldog and suggests they both come and work for him. They plan to travel the following day.
Meanwhile, at New Scotland Yard, they have discovered that the ten pound note that Dickie paid the hotel with had traces of the face powder from Brenda's purse.
Felix Forsythe calls them and says that Babs has not turned up for work and has left her belongings behind - he fears for her life.
Back at The Globe, Bob Rusk is chatting to the potato merchant named Jim. Babs turns up and quits her job, telling Felix where he can stuff it. She storms out and Bob follows her. He offers her a place to stay and they go back to his apartment. As they enter, he says to her; "You're my kind of woman"...
Later that night, he bundles her corpse in a potato sack and tosses it onto one of Jim's lorries destined for a long trip that night. He returns to his flat to relax but suddenly panics when he realises his tie-pin is missing - it must still be on her person. He dashes back down to the truck and climbs aboard, searching for the right sack. The truck is boarded by its driver and starts on its journey with Bob on board. He rips open the right sack and struggles to pull the naked corpse out of the potatoes. He finds the pin stuck in her right fist. Rigor mortis has set in and he has to break her fingers to get it free.
The truck pulls over at a café where Bob gets out and hides in the toilets until the truck leaves again. He returns to the café to freshen up.
The truck is on its journey again, but the police notice the foot of the corpse sticking out the back. They chase the truck and when he brakes suddenly, the body falls into the road.
The next morning, Hetty is desperate for Dickie to leave their apartment now that babs is dead. Dickie is horrified and Johnny realises that his plans to open a new pub will go out of the window if the police know he's harboured a criminal, despite the fact that they could provide an alibi for him. Dickie leaves in frustration and heads to whom he believes is his only friend - Bob Rusk.
Bob offers to help and suggests they go back to his apartment separately. He takes Dickie's bag for him. Once both at the flat, Bob leaves Dickie alone and calls the police who turn up, find Dickie's bag which now have Babs' belongings in and they arrest him.
In court, Dickie is found guilty and is thrown in prison for a minimum of 25 years. As Dickie is sent down he screams that it was Rusk who did it.
Once the commotion is all over, the Chief Inspector is beginning to put the pieces into place.
He gets a photo of Rusk and shows it to Monica Barling who recognises him as "Mr Robinson" and his distasteful needs, wanting women who were sexual masochists.
Oxford also hears from Sergeant Spearman who investigated the café where a waitress also identifies Rusk as a dishevelled man who was there on the night of the murder who used a clothes brush to dust off his jacket. The brush still had traces of potato dust. It seems they sent the wrong man to jail after all.
Meanwhile, Dickie, mad on revenge, throws himself down the stairs in jail and ends up in hospital. He escapes from there and heads to Bob's flat. Armed with a tyre iron, he creeps into the building and beats the body under the bed covers, only to discover another dead woman. Chief Inspector Oxford catches him in the act, but moments later, they both hear Rusk returning to his rooms, lugging a large trunk up the stairs.
Bob enters. He sees Dickie and then he sees the Inspector.
The Inspector simply says; "Mr rusk. You're not wearing your tie!"
So many. Here are a few:
Sir George: (on seeing the naked woman with a tie around her neck) "I say, it's not my club tie, is it?"
Two gentlemen are talking about the murders in a pub, bringing Maisie the barmaid into their conversation:
Man #1: "We were just talking about the murderer, Maisie. You'd better watch out!"
Maisie: "He rapes 'em first, doesn't he?"
Man #1: "Yes, I believe he does."
Man #2: "Well I suppose it's nice to know every cloud has a silver lining."
Man #2: (on murders in London) "They're so good for the tourist trade!"
Chief Inspector Oxford: (to Felix regarding Babs not returning for her belongings) "These days, ladies abandon their honour far more readily than their clothes."
Chief Inspector Oxford: "Sergeant Spearman, you are positively glutinous with self-approbation!"
The screenplay was written by Anthony Shaffer, the playwright behind Sleuth. He's brilliant. His dialogue is deliciously dark and witty.
The rape scene is one of the most horrific scenes in any Hitchcock film ever. It is so intense and it just highlights the vile and putrid act, summing up the aggression of the sick man and the vulnerability of the innocent woman. It's not pleasant to watch, but by god, it's effective. Terrifying.
The shot where Babs is murdered and the camera backs slowly down the stairs away from Bob's flat is lauded as an iconic piece of Hitchcockian direction, and with good reason too. We don't need to see the horror of the rape, but the slow retraction from the crime highlighting our helplessness to prevent the hideous result is gripping to the core. Superb stuff.
As you know, I have watched all of Hitch's films now and there is only one scene in his entire catalogue that I find it extremely difficult to watch and that is the breaking of Babs' fingers in the potato truck. I have to turn away every time. It is gruesome, macabre and I am pathetically squeamish about it. Isn't that odd!?
The inspector and his wife have a couple of amusing scenes where she dishes up a load of "gourmet" meals whilst asking him about the crimes and giving her own thoughts about who may be guilty. These scenes are played for comedy and they are a jovial treat in a darker landscape. Her intuition could rival Miss Marple's... but probably not her cuisine.
Great cast, terrific direction, superb scenes. Hitch's last great film. 10/10
Studio: A Universal Picture
Screenplay: Samuel A Taylor
Source Material: A novel by Leon Uris
Running Time: 136 minutes
Friday 29th July, 1:00pm
So, I finally got to sit through all of Topaz! I have attempted a number of times before but been overwhelmed by boredom each time. Thankfully, due to the nature of this blog, I was given a reason to persist – and, to be honest, I am glad I did. Sure, it’s not the best Hitchcock ever, but it was certainly better than I had lead myself to believe.
I had a day off work last Friday, so I settled down in the afternoon so I could get it out of the way and leave the rest of my weekend free – however, upon finishing the film, I went to turn on my computer only to find… it wouldn’t! It was dead!! ARGH!!
Luckily, I have a genius friend by the name of Adam who was able to resurrect it on Sunday. I did notice however that over those 48 hours without a computer, I was able to get an awful lot done – housework, sleeping, reading etc. So maybe it wasn’t such a bad thing.
Annoyingly, I simply did not have the time (nor the impetus) to do the blog during the week, so it has been severely delayed!
Anyway, the point is, I had to wait to update the blog, so here it is now. Forgive the lack of depth this time - it's a boring plot and as I write this, I'm very tired...
Andre Devereaux – Frederick Stafford
Nicoel Devereaux – Dany Robin
Rico Parra – John Vernon
Juanita de Cordoba – Karin Dor
Jacques Granville – Michel Piccoli
Rene Jarre – Philippe Noiret
Michele Picard – Claude Jade
Francois Picard – Michel Subor
Philippe Dubois – Roscoe Lee Browne
Boris Kusenov – Per-Axel Arosenius
Michael Nordstrom – John Forsythe
Somewhere in this crowd is a high Russian official who disagrees with his government’s display of force and what it threatens.
Very soon his conscience will force him to attempt an escape while apparently on a vacation with his family.
Copenhagen, Denmark, 1962
Boris Kuzenov and his wife and daughter are taking a holiday in Copenhagen, but they have plans in place to escape and flee to America. They leave their holiday home and visit a ceramics factory whilst being followed by some foreign agents.
Boris’ daughter, Tamara, meets with a contact and discovers they have to be at the Den Permanente store that afternoon.
Eventually losing the men who are following them, they take a taxi to the airfield where the American who has been helping them, Michael Nordstrom, is chastised by Boris for creating such a clumsy scheme. However, they have escaped and arrive in Washington. They are given a home to live in and are given new identities but for the mean time, they must lie low.
At the French Embassy in Washington D.C., Andre Deveraux learns from a man named D’Arcy that there is a Russian defector in the city and would like Andre to find out more.
Kuzenov is being interrogated by Americans regarding what he knows of the KGB and the codename ‘Topaz’.
He and his family are offered new lives and identities.
During the interview, it comes out that a man named Rico Parra has a secret trade pact between Cuba and Russia. He has a right hand man named Luis Uribe who may be able to be of assistance. They need to get to this man.
At Devereaux's home, Nordstrom visits for dinner to discuss the nature of Devereaux's assignment - he has to go to New York to find Luis Uribe and get whatever information he can about Rico's dealings with Russia.
Devereaux and his wife travel to New York and visit their daughter Michele and her husband, Francois Picard. Nordstrom is already there awaiting them, to make sure Devereaux knows what it is he has to do.
Andre goes to see his contact, a man named Phillipe who works at a florist. His role is to act as a reporter from a magazine called 'Ebony' and to get the files away from Parra via Uribe.
Phillie succeeds in persuading Uribe and only just manage to get some photographs of some vital papers before being discovered. Phillipe flees through a crowd and bumps into Andre - handing him the camera discreetly - and runs to safety.
Andre's next job is to head to Cuba to find out what the Russians are doing over there. His wife Nicole is not happy as she knows he has a girlfriend there named Juanita de Cordoba. He tells Nicole that she is simply and underground agent, but he is astonished she knows the truth.
When in Cuba, Andre meets up with his lover and they have plans to investigate Parra's plans. There is a port and there are a significant number of guards surrounding it. They send the Mendozas, a local couple, to investigate - disguised as a gentle couple on a romantic picnic, they take with them a camera, a recording device and a Geiger counter hidden within their basket of food. They get some images and some recordings, but they sea gulls give them away. They are chased after and apprehended but not before they have hidden the equipment in the hollow metal railings of a bridge, to be picked up later. These are later returned to Juanita hidden inside a plucked turkey.
Juanita's house-boy, Tomas, sets to work and later informs Andre that the evidence is hidden within the spools of ribbon in the typewriter and within the blades of his razors. Juanita fears this may be the last time she sees Andre and gives him a small book for him to read on the plane - she tells him not to open it until later.
Sadly, Parra has tortured the Mendozas and they have revealed that it is Juanita who has employed their services. He heads to the her home and the place is searched, but Andre has already left. Rico shoots Juanita.
Andre makes it away on the plane, despite the razors and ribbons being confiscated (and apparently empty too) - Andre is perplexed and saddened, but discovers some evidence sealed within the inside cover of the book Juanita gave him.
When Andre returns home, there is a pile of mail awaiting him - Nicole has returned to Paris with her daughter.
Rene D'Arcy turns up and tells Andre he too has to go to Paris.
Topaz, it is revealed is the code name for a bunch of French officials who work secretly for the Soviet union - one of these men is apparently named Henri Jarre.
Andre now has to expose 'Topaz' for what they are.
In Paris he meets with a number of high officials including Henri. Henri states that all this nonsense with Boris must be untrue because, according to him, Boris has been dead for a year.
Later, Francois Picard visits Henri and tries to get more information out of him. He admits Andre sent him and eventually persuades Jarre to meet with Devereaux again. Two men come into Henri's room and attack Francois, knocking him unconscious and they throw Henri from the window, killing him.
Francois returns to their apartments, grazed by a bullet, but essentially unhurt. With evidence they have collected, they now know the man they are looking for is Jacques Granville. They inform the authorities and Granville is removed from the peace conferences and sent back home. 'Topaz' have been exposed and it's all over...
(There are another two alternate endings. In one,Granville is assassinated during a duel and in the other, he simply returns to his home and shoots himself. The DVD ending I have has him simply extradited from the country.)
This has to be the worst synopsis I have written. Part of me wants to apologise but another part feels rather apathetic about it. After all, it's not the most thrilling plot ever.
Andre: ”Diplomat’s wives should not talk.”
Nicole: ”All wives talk!”
Juanita: ”Even tortured people lie.”
I find this to be the least ‘Hitchcock’ of all the Hitchcock movies, if you see what I mean. It’s a standard espionage affair with a real political backdrop and all in all, it’s a tad dull. However, there are some things which lift it from being appallingly tiresome.
The death of Juanita is as beautifully shot as it is predictable. The overhead view of her body falling away from her assassin is a stunning visual display albeit so simple. It is something which remains in one’s mind for long after the film is over.
The horrific off-screen torture of the Mendozas is implied merely by the tableaux of the near-dead couple – he lying prostrate in her weak arms – and with this gripping image, one can understand why they finally relent and give up Juanita’s name to Parra. One cannot help feel for this ill-fated couple.
The young Tomas’ fate is also off-screen, but we can take it for granted that his end would be a grim one.
The globe-trotting locations of the story are well realised. From Copenhagen to North America to Cuba and to France… it’s quite a travelogue. Hitch makes fine use of his locations and it certainly feels like his most wide-ranging film to date. I am not overly familiar with national anthems of the world, but I could not help but titter to myself when hearing what must be the Cuban national anthem (or whatever it is they are singing) as it bore a strange uncanny resemblance to Oh, I Do Like To Be Beside The Seaside in places. No disrespect intended, of course!
And, true to my nature, I have to say that when Tomas (played by John Roper) came on screen I said out loud; "Hello Tomas!" (Some sources credit him as ‘Thomas’ but I prefer the Spanish spelling for a Cuban boy.)
Oh, and Philippe Noiret looks like Chris O'Dowd - Roy from The IT Crowd.
Sure, it’s a tad overlong, a bit boring in places and doesn’t always feel like a Hitchcock film, but it wasn’t all bad. 3/10
Sunday, July 24, 2011
Title: Torn Curtain
Studio: Universal Pictures
Screenplay: Brian Moore
Source Material: This was an original screenplay
Running Time: 122 minutes
Sunday 24th July, 3:00pm
I left this one to a little late in the day, starting at 3:00pm. As I don't want to give up the majority of my evening writing it up, I will try and be brief with the synopsis. After all, as I write this, it's 5:30 and I want dinner around 6:00! I'm a man of routine, you see.
I missed lunch today as I was too busy messing around on the Internet. However, I'd had six rounds of toast for breakfast following a disturbing night of weird dreams and bouts of insomnia in between. Maybe I'd partaken a wee too much red wine the evening before.
Earlier this week, on my birthday, I watched The Sound of Music - please do not judge me. It was my birthday and I could do whatever made me happy, within reason, and this rather splendid family film was just what I was in the mood for. I still get a little bit over-excited when they start singing The Lonely Goatherd. Anyway, I mention this merely because of Julie Andrews. My dad always described her as "pornographic" (What's that about, Dad?) but I have always loved her thanks to Mary Poppins. It's been a Julie Andrews week!
So, here two great loves of mine collide - Hitch and Andrews - and although some critics may complain, I have no reason to, for I think it's as interesting pairing as Hitch and Doris Day in The Man Who Knew Too Much.
Cripes. Could I sound more gay? Jeepers!!
I am not looking forward to next week's blog - it's Topaz; a film I have never been able to sit through!! Wish me luck for next week...
Professor Michael Armstrong - Paul Newman
Miss Sarah Sherman - Julie Andrews
Countess Luchinska - Lila Kedrova
Heinrich Gerhard - Hansjörg Felmy
Ballerina - Tamara Toumanova
Hermann Gromek - Wolfgang Kieling
Professor Gustav Lindt - Ludwig Donath
Professor Karl Manfred - Günter Strack
Jakobi - David Opatoshu
Dr Koska - Gisela Fischer
Farmer - Mort Mills
Farmer's Wife - Carolyn Conwell
Freddy - Arthur Gould-Porter
Fraulein - Gloria Gorvin
We begin in Osterfjord, Norway as a cruise ship navigates through the fjords.
On board, delegates for a physicists' conference shiver as the heating fails to provide them with warmth. In one of the cabins, Professor Michael Armstrong and his fiancée and secretary, Sarah Sherman, make their own heat. He is there to present a spoeech at a conference.
They are interrupted by a telegram informing Professor Armstrong that a book is awaiting him at the Elmo Book Store in Copenhagen. He replies to the telegram but discretely away from Sarah.
Once at Hotel d'Angleterre in Copenhagen, Sarah takes a call from the book store. As Michael is showering, she takes the message and goes to pick up the book, much to Michael's dismay. She finds it with the help of a Professor Karl Manfred, who shares colleagues with Michael.
Once she arrives, the storekeeper named Freddy gives her the first-edition book wrapped in brown paper. She takes it back to Michael at the hotel who then disappears into the gents' toilets and proceeds to open it. Within the frontispiece, he is directed to go to page 107 and there he finds some letters underlines and the Greek letter for 'Pi' circled.
Over lunch, he tells Sarah that plans have changed. She is to cover for him at the conference and take notes whilst he will go on ahead to Stockholm. She is noticeably disappointed by this turn of events as she had noted how keen he was for her not to accompany him on this trip in the first place.
He has picked up his ticket already and there is nothing more to be said. She is upset and decides that instead she should return to New York. She goes to the travel agent, but also enquires about her fiancée's ticket. Apparently, it was not for Stockholm, but for East Berlin.
Michael is aboard the plane and soon he notices that Sarah is on it too - she has followed him. He tells her that upon landing, she is to find a flight directly out of East Berlin and not to follow him. She is also puzzled when she sees that Professor Karl Manfred is also on the plane.
When they arrive at the airport, there are reporters and photographers. One aging starlet is disappointed to discover that the press is not intended for her, but for this Professor Armstrong! It is announced that Michael has decided to live and work for peace in the people's Democracies.
Michael is taken to speak with Heinrich Gerhard of Inland Security - they note that they were expecting him to come alone.
At a press conference, Michael announces that he is here to work on a defensive weapon to oppose the offensive nuclear weapons. The U.S. government had shut down his project, so he intends to continue the work on the other side of the Iron Curtain. Sarah is horrified knowing her fiancée has defected.
The couple are assigned a 'personal assistant' named Gromek who is amused by a lot of Americanisms which he continues to question them about.
At the Hotel Berlin, Sarah has it out with Michael but he continues to stick to his position and asks her to go home without him.
The next morning, she is woken by Karl Manfred and she finds a note from Michael saying he's gone for a walk and (again) that she should head home.
Michael takes a taxi out to a farm. When a farmer's wife answers the door, he draws the Greek 'Pi' symbol in the dirt with his foot. She lets him in. She then directs him to her husband on a tractor in the field. He goes out and speaks to him. He is actually part of the 'Pi' organisation which assists spies in escaping the country. It is revealed that Michael is, in fact, under cover and is here to get the final secrets of the Gamma Five project out of Professor Lindt, as his own experiments had come to a dead end. His only way to do so was to pretend to defect to the other side.
The farmer tells him his next contact is Dr Koska in Leipzig.
When he returns to the farmhouse, Michael is confronted by Gromek who has followed him on his motorbike. Having noticed the 'Pi' sign outside in the dirt, he realises that Michael must be a spy. He is about to ring for help when the wife and Michael attack him and, due to the situation, are forced to kill him. It's not such an easy task, but they eventually stab him and gas him in the oven. The wife of the farmer will bury the body and the motorbike but Michael has to leave immediately. The taxi driver is waiting outside, none-the-wiser.
When he returns to the hotel, he is met by some Inland Security men who say that Gerhard is waiting for him - they take him to Gerhard and he discovers that Sarah has decided to stay and work alongside Michael. Gerhard is also distressed to discover that Gromek has gone missing.
Later, they are at Leipzig at the Karl Marx University. Whilst being shown around, Michael is tripped up and he falls down the stairs. This was merely an awkward way to get him alone with Dr Koska, a widow whose role was to assist them escape with new identity papers. She patches him up and tells him to return after seeing Gustav Lindt.
When Michael has the meeting with the associate Professor's regarding Gamma Five, he is interrupted when asked about the farm he visited. Due to the suspicions and the implications of his possible nefarious activities, they have to abandon the meeting. However, Professor Lindt is at the back of the room and he says that he can always speak to Sarah instead.
Sarah is brought in, but she refuses to co-operate. Michael talks to her outside and in private, tells her the whole truth about his undercover status. She agrees to go along with the plot.
Back at the farmhouse, the police have discovered the buried motorbike and Gromek's body.
Over dinner, Karl, Michael, Sarah and Gustav share company. Sarah takes Karl to dance whilst Michael tries to illicit the information he needs from Lindt - however, Lindt never mixes work with pleasure.
Koska arrives and tells Michael that Gromek's body is found and they have to get out of the country tomorrow - secrets or no secrets. they have to be at her clinic at 10am tomorrow.
In a final arrangement, Gustav and Michael arrange to meet at the barbershop the following morning.
The next day, it's 10:10 and Sarah is anxiously awaiting Michael at Dr Koska's clinic. He is busy playing a game of bluff with Gustav Lindt - persuading him that he knows enough and trying to get him to provide the ultimate equation for the Gamma Five project. As Lindt finally writes up the answer on the blackboard, the university is swarmed with Police searching for Michael. Lindt is furious that he has been fooled in this way and calls for security. Michael flees and rejoins Sarah and Dr Koska. The doctor takes them to a man named Jakobi who takes them away on a bus which is reserved for the 'Pi' organisation and is a decoy to help spies travel - it's heading back to Berlin. They are stopped by two roadblocks - one a genuine security measure (which fails), the other a ploy by bandits to get money from innocent passengers of vehicles passing by. The bandits are seen off by soldiers who then proceed to act as escort for the decoy bus. The people on board are amused but also distressed that, after two road blocks, the real bus will be following behind very shortly. They escape by the skin of their teeth upon their arrival in Berlin and are briefly helped by a woman from Poland who claims to be Countess Luchinska - she says she will help them find their next destination if they agree to sponsor her and get her away to America. They agree. She takes them to the Post Office where they meet their next contact, Arthur, who passes on the information taht they need to get to a specific travel agency. The police arrive and as they flee, the countess hurls herself at their pursuers and aids their getaway.
At the travel agency, they meet the farmer again. He has set up plans for them to escape in costume baskets after the last performance by a touring ballet company. Sarah and Michael attend the ballet and await the interval with patience as they acknowledge the red-haired man who is to be their aid.
However, the ballerina on stage is the woman from the airport in East Berlin and she recognises Michael in the audience. She alerts the authorities off-stage and the theatre begins to fill with police. Michael, in a blind panic, yells 'Fire!' at the top of his voice. Panic ensues and as the crowd storms for the exits, they escape to the dressing room where the red haired man helps them hide in the baskets.
Aboard the East German boat to Sweden, they remain hidden, but the ballerina is also on board and as the baskets are being lifted by crane, she alerts the authorities (again - bitch!) and they fire upon the baskets with a machine gun. The baskets fall to reveal nothing but tutus. Meanwhile, the red-haired man, Sarah and Michael have leapt overboard and climbed up the Swedish dock in safety.
Back on safer soil, they huddle together in a cabin, trying to get dry by a stove - a reporter tries to get pictures of them, but they snuggle under the blanket away from prying eyes.
This isn't exactly packed with witty one liners or anything, but there were some nice moments which made me grin...
Henrich Gerhard to Michael on the presence of Sarah in East Berlin: "I hear you brought a little excess baggage!"
Michael to Karl: "Give me five minutes with her. After all, she's my girl."
Sarah: "Put that in the past tense!"
Lindt, in a moment of pure randomness: "Did I tell you that my sister Emily got knocked down by a tram in Vienna?"
The Countess: "It will be undrinkable. Disgusting liquid they call coffee!"
This is only the second time I have watched Torn Curtain but I did enjoy it just as much as the first time. Paul Newman and Julie Andrews are both incredibly likable people on screen and they do have a certain chemistry between them.
Other notable cast members include Lila Kedrova as the countess (whose role in the movie could easily be done without, but she does provide some much-needed comic relief, even if tinged with a poignant back-story); Günter Strack as the somewhat creepy Karl Manfred and Wolfgang Kieling as Gromek. I could see the latter role also being played by Peter Lorre in a different decade.
Some wonderful scenes include the bus ride and the tension as they try desperately to get away - the fraulein's repeated hysteria highlighting the nervousness of the passengers and the ever-nearing 'real' bus. It's genuinely exciting.
I also love the scene in the post office where the countess is desperately trying to get hold of Arthur, but time after time, she is declined. It's made almost unbearable because we as an audience know that a gentleman has become suspicious and alerted the police. The longer they wait for Arthur, the more danger they are in.
Another little moment I approve of whole-heartedly is a terrific over-head shot of Michael crossing the lobby whilst a number of char ladies scrub the floor. It's one of those images which sticks in one's head.
The climax in the theatre is reminiscent of both The 39 Steps and The Man Who Knew Too Much but it is still effective. Especially the fake flames on the stage giving Michael the idea of how to escape. I was hoping he might actually start a real fire using Gromek's lighter, which he had kept post-execution, but maybe he was too considerate about the theatre's architecture.
Finally, let's mention that brilliant murder scene. The non-English speaking farmer's wife and Michael gang up against this 'heavy' in order to stop him from ruining their plans. The farmer's wife is superb, first stabbing him then attempting to cripple him with a few whacks of the shovel against his shins - and then dragging his weaker body to the gas oven to smother him finally.
It's all done so intimately with the camera and the silence of the soundtrack almost punctuates the brutality of the moment.
There are moments where you feel Hitchcock is purposefully paying homage to his own films! Look out for references to Blackmail and Psycho in particular.
It is easily the best scene in the whole film.
There are moments which could have benefited from slicker editing, but on the whole, it's a fun thriller in which the 'secrets' are merely the macguffin. Not perfect, but enjoyable 7/10
It is now ten to seven in the evening. So much for keeping it brief!
Monday, July 18, 2011
Studio: Universal Pictures
Screenplay: Jay Presson Allen & Evan Hunter
Source Material: The novel by Winston Graham
Running Time: 125 minutes
Monday 18th July, 2:00pm
It has been over a fortnight since the last update, but I knew I was going to have one weekend off before the end of my project so that I could neatly time the final film to coincide with Hitchcock's birthday. To be frank, I wish I had chosen this weekend to skip as I was hung-over throughout Sunday and had to postpone the viewing until today - but I'm having a long weekend anyway, so it's not too much trouble.
Tomorrow, it's my birthday (bless) and this is why I am having an extra long weekend. I always like to take the day off work when it's my birthday - I recall one year when I could not because I was away on a work conference. My, I was a bit stroppy that year I can tell you! Ah, the foibles of a mardy-pants...
I have been a fan of Marnie for many years. Maybe it's because I am a frigid thief with repressed childhood memories in denial of my own past. Or maybe it's because it's a damn fine film. You decide.
Marnie Edgar - Tippi Hedren
Mark Rutland - Sean Connery
Lil mainwaring - Dianne Baker
Sidney Strutt - Martin Gabel
Bernice Edgar - Louise Latham
Cousin Bob - Bob Sweeney
Man at racetrack - Milton Selzer
Susan Clabon - Mariette Hartley
Mr Rutland - Alan Napier
Sailor - Bruce Dern
Detective - Henry Beckman
Sam Ward - S John Lautner
Rita - Edith Evanson
Mrs Turpin - Meg Wyllie
A woman with jet-black hair is at a train station carrying a suitcase in one hand and with a smaller yellow handbag tucked under her other arm.
Meanwhile, Mr Strutt is describing the woman who has stolen money from him to a pair of detectives.
"Five foot five, a hundred and ten pounds, size eight dress, blue eyes, black wavy hair... even features... good teeth..."
He admits he had given her the secretarial job knowing she had no references. Mark Rutland arrives and surveys the scene, he knows the woman Mr Strutt speaks of as he's met her before on a previous visit.
At a hotel, the black-haired woman is filling one suitcase with old clothes and filling another one with new clothes. She transfers a heap of money from the yellow handbag to another. She changes the Social Security account number card from her wallet stating her name to be 'Marion Holland' and replaces it with one for 'Mary Taylor' - then she washes the black dye out of her hair. She is blonde.
She travels to the train station, leaves the old cases in a locker and throws away the key.
She returns to a guest house where she is known as 'Miss Edgar' and then heads out to Garrod's where she keeps her beloved horse, Forio.
Later, Marnie visits her semi-invalid mother who is babysitting for a young girl names Jessie Cotton of whom Marnie is unashamedly jealous due to her own mother's affections towards her. She hates the red gladiolas in the front room and removes them, replacing them with the chrysanthemums she has brought. In an emotional confrontation, Marnie asks why her mother doesn't seem to love her and for this she is slapped hard across the face.
A few days later, Marnie has now applied a brown dye to her hair. She applies for a job at Rutland's & Co, a publishing firm. Whilst interviewed by a Mr Ward, Mark Rutland watches and indicates that he would like Mr Ward to give the job to 'Mary Taylor' rather than a more qualified applicant - but fails to give his reasons.
Here we also meet Lil Mainwaring, Mark's sister-in-law. He is widowed, but had remained firm friends with his dead wife's sister who seems to have feelings for him herself.
During her early days working at Rutland's, 'Mary Taylor' notices that Mr Ward always opens a small locked drawer before going to the safe. She learns that Mr Ward keeps the safe combination in there as he can never remember it. She also accidentally spills some red ink on her white blouse and has a hysterical reaction to the colour emblazoned on her sleeve.
One night, during some overtime working directly with Mark Rutland, there is a terrible storm. 'Mary' is distraught and terrified. Mark goes to her aid and they both narrowly miss being hurt when a branch from a tree crashes through the window.
Over the next few weeks, Mark and 'Mary' begin to spend more time together. He takes her to the races, where a man approaches 'Mary' saying he knows her as Peggy Nicholson, but she denies it flatly. At one point, they are going to place money on a horse named 'Telepathy' but when 'Mary' sees the red dots on the silks of the jockey, she changes her mind and insists that Mark does not bet on that horse. Unfortunately, it goes on to win...
Mark even takes 'Mary' to meet his father one weekend at the family home where she meets Lil once again. Mark's father takes to 'Mary' quite quickly as he too is extremely fond of horses.
Then, the day comes when 'Mary' is to do what she came to the job to do. One Friday evening, she waits in the ladies' powder room until everyone has gone home. She takes a stolen key to open the small drawer and reads the safe combination:
4 turns left to 36
4 turns right to 20
2 turns left to 16
2 turns right to 8
1 turn left to 5
The safe opens, as she fills her bag with money, she is unaware of a cleaner mopping the corridor floor just feet away. Removing her shoes to remain unheard, she slips them into her coat pockets and tiptoes past the cleaner who is intensely mopping away. One shoe slips from Marnie's pocket and clatters to the ground... the woman remains mopping, unfazed by the noise. The woman is mostly deaf, thankfully.
The next day, Marnie is blonde again and out galloping on Forio. She is shocked to see Mark waiting for her upon her return.
He confronts her and explains how he'd already had suspicions about her from the day he saw her at the interview. He tracked her to the stables having been lead by clues she had dropped whilst out at the races with him. She continues to fob him off with lie after lie, but he is having none of it. Eventually, he drags the truth out of her but, instead of turning her over to the police, uses emotional blackmail and proposes to her. He thinks she should stay with him at the family home.
She has little choice.
They are married and they take their honeymoon on a cruise. Both Lil and Mark's cousin Bob are curious about this sudden romance and Lil in particular is keen to find out more...
Whilst on the cruise, Mark learns of Marnie's frigidity and is perplexed by her terror of sexual advances. He promises to keep his distance and for days they enjoy reasonably civil mutual conversations, but eventually the façade falls apart. He becomes tense with sexual frustration and tears her night dress from her. He apologises and covers her with his own gown. She is stunned into a state of shock and in this almost comatose state, she "allows" him to make love to her. The next morning, he wakes to find her gone - he dashes out in the early morning air and searches the deck - he finds her face down in the ship's swimming pool but manages to resuscitate her.
They return home. Lil overhears Mark and Marnie discussing Strutt and the possibility of jail. She does some investigating of her own and also eavesdrops on a phone conversation Marnie has with her mother, whom she had told everyone was dead.
Mark, as a sort of peace offering, brings Forio home from the stables for Marnie to ride. Whilst she is out, Lil tells Mark about what she knows and also about Marnie's mother. She says she wants to help, but mark asks her to merely be a friend to Marnie.
Mark gets a private detective to look into Marnie's mother's life and discovers some interesting facts about a court case.
Later at night, Marnie has her recurring nightmare about a tapping and her mother being hurt. Mark comes in and wakes her to try and get her to tell what the dream is about. They argue once more and he tricks her into exposing something from deep within through free-association with words. Her reactions to 'sex', 'death' and 'red' are telling...
Days later, a party is being thrown at their home. Lil has gone and invited Strutt. He recognises Marnie as the girl who stole money from his business, but is not entirely sure. Marnie panics and realises she has to bolt.
Mark tells her not to, saying her can persuade Strutt not to press charges if they repay the money - this is when she admits to other crimes and Mark believes with the right circumstances, things can be smoothed over - he can afford to pay off her 'debts' if necessary.
The next day, Mark is trying to persuade Strutt and whilst he does that, Marnie is joining the others on a fox hunt. Once she spies the red of one of the jackets, she flees, racing on Forio over the fields. Lil chases after her. One final jump over a wall is too much. Forio trips and falls, throwing Marnie off and crippling himself. Marnie, in tears bangs on the door of a nearby house where she forces the owner, Mrs Turpin, to give her a gun. Lil tries to assist, but Marnie is determined to do this herself. She takes the gun and shoots Forio in the head.
Still in shock, she wanders back to the house, still holding the gun. She goes upstairs, takes the keys from Mark's study and heads back to the Rutland company offices. She heads straight for the safe, opens it and struggles with her urges and impulses. Mark arrives in time and gets the gun off her and tells her they are going to take a trip to see her mother.
Arriving in Baltimore as a storm begins, Mark confronts Mrs Edgar, insisting she tells the truth about Marnie's past - force her to explain the missing memories that have been tormenting her all these years. Mrs Edgar won't and she goes to attack Mark, but as they struggle, Marnie's memory clicks into place and she begins to remember...
In flashback, we see the young Mrs Edgar. She provides young sailors with entertainment for a small sum but sue to the small abode, she has to wake up her daughter with a knock on the door in order to get her to move to the settee so she and the gentlemen callers can use her bed.
This particular evening, young Marnie is too distressed and cries. The sailor comes out to tell her to keep quiet, he brushes her hair and begins to kiss her neck. Mrs Edgar throws herself at him, telling him to take his hands off her daughter. In a fight, they fall, damaging Mrs Edgar's leg - she cries out in pain. Little Marnie grabs the fire poker and beats the sailor over the head until he dies.
The truth is revealed. Mrs Edgar told the police she killed the sailor in self defence. She also tells of how she had slept with Marnie's biological father just the once but he had run off when she became pregnant. She had them spent her life inflicting this dangerous image of men upon her daughter, trying to protect her.
Marnie now knows that her mum had always loved her and had simply wanted to protect her and keep her decent, but instead, it had turned Marnie into a liar, a cheat and a thief.
Mark takes Marnie in his arms and takes her away, promising to take care of her.
Marnie sees a picture of an animal in Mark's office:
Mark: "...that's Sophie. She's a jaguarundi. South American. I trained her."
Marnie: "Oh, what did you train her to do?"
Mark: "Trust me."
Marnie: "Is that all?"
Mark: "That's a great deal.. for a jaguarundi."
Mark has an odd slant on romance:
Mark: "It seems to be misfortune to have fallen in love with a thief and a liar."
Mark: "I've tracked you and caught you, and by God, I'm gonna keep you!"
When Mark asks Marnie why she threw herself in the ship's pool rather than overboard, she tells him frankly: "The idea was to kill myself, not feed the damn fish."
Finally, my favourite line, which is delivered twice at different moments...
Marnie: "There. There now..."
There are three key scenes which I think are simply fantastic. Firstly, the safe-breaking scene in which Marnie steals the money whilst the cleaner silently mops just feet away and Marnie has to escape unheard. It's terrific direction and has edge-of-your-seat tension. You genuinely want her to get away with it.
Secondly, the accident involving Forio and Marnie - the wall, the crippling and then the shooting - it's heartbreaking and so difficult to watch. Brilliant.
Thirdly, the revelatory finale shown in flashback where we learn the truth about Marnie's psychosis. Superbly shot, terrifyingly intimate and deeply shocking. Bruce Dern's cameo in this movie is brief but intrinsic to the plot and just unnerving enough to warrant the audience's compliance with the ultimate justice he is served.
Other scenes of note are the 'rape' scene and the brilliant 'free-association' scene where she first answers blithely until she cracks and words of meaning and distress pour from her lips. That scene always gives me goose-bumps.
There are stories told about Hitchcock's darker side overpowering some of the elements in this film - particularly over Tippi Hedren and the uncredited Evan Hunter. I find it uncomfortable to imagine the negative aspects of Alfred's personality and when the final product is so utterly bewildering, one wonders if he had the right to exert such power "willy-nilly". Had his success gone to his head by this point? that's open for debate.
Bernard Herrmann's final score for Hitchcock and, once again, it is superb. The themes within are haunting and they live on in your mind long after the film is over.
People will forever connect Herrmann with Psycho and Vertigo particularly, but this is just as emotive and effective.
Oh, and let's mention Sean Connery, shall we? This man is one of the biggest male sex symbols in cinema history. Here he is a saviour, a hunter, a leader, an emotional blackmailer and a sexual predator who, in no uncertain terms, rapes his own wife. Both Mark and Marnie are, basically, despicable people but they show the inhumanity that is possible within all of us to a degree. Humanity's flaws embodied in male and female roles.
It may be hard for some to watch Sean in this role having known him for so long as the suave and debonair James Bond (who may be a womaniser, but never to the extent of forcing himself upon an unwilling victim) but it's a performance worth savouring.
The film owes much to Tippi Hedren's performance as without such a powerful portrayal of the anti-heroine, the film may have been less of a success. 9/10
(Only four films to go!!)
Sunday, July 3, 2011
Title: The Birds
Studio: Universal Pictures
Screenplay: Evan Hunter
Source Material: A short story by Daphne Du Maurier.
Running Time: 119 minutes
Sunday 3rd July, 10:00am
Ah, 1963. What a superb year. Two of my favourite films were released (The Haunting and The Birds) and Doctor Who began on BBC television. If I could travel back in time and experience it all first hand, I would. Oh, and perhaps give a bit of warning to the U.S. president. i.e. "Duck!"
Despite political assassinations, 1963 was not half bad.
In 2008, I visited San Francisco and found the city itself to be reasonable pleasant and entertaining, but I had the best time when I visited Bodega Bay - I felt at home there. I ended up spending a fortune on Bodega Bay/"The Birds" merchandise. I have no regrets about that!
I am attempting to remain fairly upbeat and chipper as I type this, but I am suffering from rather nasty cramps in my intestines which are subsequently leading to dashes to the old 'W.C.' - I haven't eaten anything out of the ordinary, so I can't really explain it. Maybe this is the start of a new form of terror coming to a theatre near you... "The Bowels".
Enough about my infernal internal problems, let's crack on with one of the best films ever made (God, I sounded a bit like Alan Partridge there. Ooh - 'Partridge'! Birds everywhere.)
Mitchell Brenner - Rod Taylor
Lydia Brenner - Jessica Tandy
Annie Hayworth - Suzanne Pleshette
Melanie Daniels - 'Tippi' Hedren
Cathy Brenner - Veronica Cartwright
Mrs Bundy - Ethel Griffies
Sebastian Sholes - Charles McGraw
Mrs McGruder - Ruth McDevitt
Deke Carter - Lonny Chapman
Salesman - Joe Mantell
Fisherman - Doodles Weaver
Al Malone - Malcolm Atterbury
Post Office Clerk - John McGovern
Drunk - Karl Swenson
Mitch's Neighbour - Richard Deacon
Helen Carter - Elizabeth Wilson
Farm Hand - Bill Quinn
Hysterical Mother - Doreen lang
Schoolkid - Morgan Brittany
Melanie Daniels, socialite and a daughter of a newspaper editor, heads to Davidson's Pet Shop in San Francisco in order to pick up a mynah bird as a gift for her Aunt Tessa who is soon to return from overseas.
Mrs McGruder tells Miss Daniels that the bird has not yet been delivered but she will telephone to find out when it is due.
While Melanie waits, a man named Mitchell Brenner enters the shop. He recognises Miss Daniels and pretends to not know her and addresses her as though she were a salesperson. Melanie, always game for a bit of role play, enjoys the scenario until he asks too many leading questions. She accidentally lets a canary free and she and Mrs McGruder struggle to catch it. When it comes to rest on a table, Mitch catches it and returns it to its cage, referencing Melanie's name as he does so. This makes are angry and he explains that he knew her by sight. He had come into the store initially to buy some love birds for his sister's eleventh birthday. He leaves Melanie fuming but she chases after him and notes his licence plate - WJH 003 - she then calls Charlie at City Desk and asks him to trace it for her. Then, she gets Mrs McGruder's help to purchase some love birds.
Melanie has the information she needs and she heads to Mitch's apartment with the two love birds in a cage. She leaves them outside his door with a note, but his neighbour alerts her to the fact that Mitch is away in bodega Bay for the weekend. This infuriates Melanie, so she decides to drive up to Bodega Bay and deliver them personally.
When she arrives, she visits the local Post Office and General Store to find out Mitch's address and the name of his sister. They tell her where to find his home and say that his sister is either called Lois or Alice. They suggest she ask Miss Hayworth, the schoolteacher.
When Melanie meets Annie she learns that the girl is called Cathy. Annie Hayworth is suspicious of Melanie and slightly resents her classy looks and obvious wealth.
Melanie then takes a boat across the bay to deposit the love birds. She waits until Mitch is out in the barn, enters the house, leaves the birds and a note for Cathy, but tears up the original note she wrote for Mitch.
Back in the boat, she watches from the security of the bay as Mitch discovers the birds. He comes out of the house and spies her. He gets in the car and drives around the bay, getting to the wharf before she does.
Just as she approaches, a seagull swoops down and hits her on the head, making her bleed.
Mitch is appalled and helps her out of the boat. he takes her to the Tides Restaurant to help fix her up.
Lydia, Mitch's mother, comes in and Mitch tells her he has invited Melanie to dinner. Lydia seems to take an instant dislike to Melanie but accepts the guest into her home.
Melanie asks Annie Hayworth if she can rent her spare room for the night and Annie agrees.
That evening at the Brenners', Lydia is concerned about her chickens as they don't seem to be wanting to eat. She calls her chicken-feed supplier and he tells her that a local farmer is having the same problem, even though he uses different feed. She worries there might be a sickness affecting the birds.
Cathy likes Melanie and asks her to come to her birthday party the following day. Melanie says it's unlikely she'll attend as she has to return to San Francisco.
Whilst Cathy and Melanie are talking, Mitch and Lydia are in the kitchen talking about Melanie. Lydia tells of how she'd read about Melanie's antics in Rome where she allegedly jumped into a fountain naked. Later on, as Melanie is about to head back to Annie's, Mitch questions her about this. She denies it and is indignant, stating that the report was in a rival paper to her father's and they just made it up to discredit her. Fuming, she drives back to Annie's where the two woman begin to bond whilst discussing Mitch and Lydia. Just before Melanie heads to bed, there's a thud at the door - they open it to discover a seagull dead on the veranda...
It's Cathy's birthday and the party is in full swing. Melanie has decided to attend all along. She has a deep conversation with Mitch out on the dunes and opens up about her mother who left her when she was eleven years old.
They return to the party where Cathy is playing Blind Man's Buff with her friends. Suddenly, the seagulls start attacking, swooping from the sky and hitting the children. Panic breaks out and the adults struggle to get the kids indoors.
Mitch insists that Melanie stays for dinner as he would like to know she is safe.
That evening, as Lydia, Cathy, Mitch and Melanie relax, a swarm of small birds fly into the living room via the chimney. It's like a blizzard indoors. The women manage to beat their way out and Mitch tries to fend them off. Much later, when the birds have left, the sheriff is round and is perplexed by the whole thing and reluctant to take any serious action.
Cathy is at school and Lydia drives around to Dan Fawcett's home to ask about the chicken problem. She lets herself into the house and discovers the place a mess. Crockery is broken in the kitchen and the windows are smashed. She makes her way through the house looking for Dan. She finds him in his bedroom - dead with his eyes pecked out. She flees the scene in terror and heads straight home.
Mitch puts her to bed and heads off to the farm with the Sheriff.
Melanie makes tea for Lydia and they talk. Lydia opens up about her life and how she feels about losing Mitch. After losing her husband Frank four years ago, she is so scared of being alone. She panics about Cathy and Melanie offers to pick her up from the school.
Melanie drives around to the school and waits on a bench outside smoking a cigarette whilst the children finish their singing lesson. Unbeknownst to her, the climbing frame behind her is slowly filling with a murder of crows. Eventually, one crow in the sky catches Melanie's attention, she follows its flight until it lands on the frame. She is horrified and heads straight into the school to alert Annie.
Annie makes the children do a fire drill and they exit the building and run off down the road. The crows attack. One of Cathy's friends falls and Cathy and Melanie help her up amongst the flurry of wings and beaks. They hide in a car until it's over.
Back at the Tides restaurant, Melanie telephones her father to explain what has been happening. Other locals start sharing their stories but one woman, Mrs Bundy, implies it's all nonsense as she is an ornithological expert. A mother of two small children asks everyone to be quiet as the talk is scaring her children, although, admittedly, it is she who appears more scared. She persuades a travelling salesman to show her the best way to the free-way. They leave the restaurant. It isn't long before they fly back in again as another attack is happening outside.
The man at the petrol station is hit, he drops the pump nozzle and it leaks across the forecourt. A man oblivious to events around him lights a cigar and drops the match. His life is over as the fire ignites and his car explodes. The flames shoot back to the pump and that too explodes. Chaos ensues and the birds watch callously from above before swooping again. Melanie rushes outside but tries to find shelter in a phone booth. The birds still attack, trying to smash the glass. She escapes and heads back to the diner. Everyone is huddled in a corner. The hysterical mother accuses Melanie of bringing the trouble to Bodega Bay and calls her 'Evil'.
Mitch takes Melanie away once the birds have moved on. They go to fetch Cathy from Annie's home only to find the schoolteacher's corpse on the steps. Cathy is safe inside but visibly distressed. Mitch is fuming and attempts to seek revenge by throwing a stone at one of the birds, but Melanie stops him just in time. They take Cathy away, back to the Brenners' home.
The bay is teeming with birds and Mitch quickly sets about boarding up the windows to the best of his ability. Once all inside, they sit and wait. Lydia is verging on hysteria and Cathy is concerned about her own love birds, knowing they haven't done anything wrong.
An attack on the house is heard from inside. One gull tries to break through the boards in the kitchen, but Mitch fends it off. The back door is being shredded by ravaging beaks. Mitch drags the hall stand/dresser and covers the door, nailing it in place. The power goes out, but Mitch has a torch and they wait for it to be over...
Eventually, everything is quiet again. Hours pass and all are asleep apart from Melanie. She hears noises upstairs. She takes the torch and ascends the stairs. In a room at the top of the house, she finds a hole in the roof. The birds are everywhere. They attack her and she falls back against the door, desperately flailing her arms around to protect herself. They are beginning to overcome her but Mitch has woken and drags her from the room.
Downstairs, they all tend to Melanie's wounds, but she has gone into severe shock.
Mitch insists they take her to hospital. He sneaks outside to retrieve Melanie's car from the garage. The birds are still around, swamping the area, but they are not attacking. Once the car is out of the garage, he goes back into the house to fetch Melanie and his family. With trepidation, they leave the house, Cathy insisting she brings the love birds. They carefully drive off through the masses of birds waiting patiently for their next attack...
Cathy: (on her brother's job) "He has a client now who shot his wife in the head six times. Six times! Can you imagine it? I mean, even twice would be overdoing it, don't you think?"
Annie: "...probably lost his way in the dark."
Melanie:: "But it isn't dark Annie, it's a full moon."
Melanie: (on how she fills her days) "On Tuesdays, I take a course in General Semantics at Berkeley, finding new four-letter words."
"I have an Aunt Tessa... I'm giving her a mynah bird when she comes back from Europe. Mynah birds talk, you know. Can you see my Aunt Tessa's face when this one tells us one or two of the words I've picked up at Berkeley?"
Child in restaurant: "Are the birds gonna eat us Mommy?"
Even Hunter's script is wonderful. It plays with you as it builds up the relationships of the characters and making them flawed yet real.
There are number of moments where I still get chills when watching this film, most particularly when the beaks are pecking through the door.
Hitch has done an amazing job building up the tension slowly and the terrifying his audience with horrific and unwarranted attacks on the humans but still maintaining his edge of black humour.
My favourite shot in this film is towards the end when the trapped family hear that the birds are leaving the house. We silently see their faces looking upwards with hope and fear, then we slowly pan out from Lydia, to incorporate Melanie and then Mitch's face. It's subtle but incredibly effective.
The cast is stunning. Everyone is perfect in their roles from the young Veronica Cartwright as Cathy Brenner to Ethel Griffies as the cantankerous and self-righteous Mrs Bundy. 'Tippi' is beautiful and classy throughout and Jessica Tandy is wonderful as the icy mother who slowly shows signs of thawing.
There is no musical score to the film which makes the whole thing just uncomfortable enough to creep you out. Bernard Herrmann did, however, supervise the sound effects of the birds. The song the children sing was actually penned by the screenwriter, Even Hunter.
Sure, some of the special effects look dated now, but it is still very high on my list of 'favourite films of all-time'. 10/10
Sunday, June 26, 2011
Studio: Paramount Pictures
Screenplay: Joseph Stefano
Source Material: The novel by Robert Bloch
Running Time: 108 minutes
A black & white picture
Sunday 26th June, 12 noon
Ah, so we come to one of the most famous films of all time! I recall seeing this for the first time many moons ago. I had set the video for it and I remember switching on the TV late at night, just to see if it had finished and I caught the final few seconds. That irritated me somewhat. Ah, well.
I wasn't sure if I was going to make it this weekend as I had a rather busy social day yesterday and a bit too much wine last night. I was a tad hung-over this morning, but I managed to get through the movie unscathed as I think my body needed to just crash out a bit.
It's hard to believe I am so close to the end of this project and that I have been doing it for over a year. I'd feel better if I knew more than a handful of people were bothering to read it, but as I've said before, I'm really only writing it for my own amusement.
Norman Bates - Anthony Perkins
Lila Crane - Vera Miles
Sam Loomis - John Gavin
Milton Arbogast - Martin Balsam
Sheriff Chambers - John McIntire
Dr Richmond - Simon Oakland
George Lowery - Vaughn Taylor
Tom Cassidy - Frank Albertson
Mrs Chambers - Lurene Tuttle
Caroline - Pat Hitchcock
California Charlie - John Anderson
Cop - Mort Mills
Marion Crane - Janet Leigh
FRIDAY, DECEMBER THE ELEVENTH
TWO FORTY-THREE P.M.
Sam Loomis and Marion Crane are entwined in some post-coital canoodling in a hotel room. Their love affair feels illicit due to the stresses Sam is under. They want to get married but he is concerned as he is still paying off his father's debts and also paying alimony to his ex-wife. If they had some money, he'd be more than happy to start a new life with Marion.
Marion's late lunch is over and she heads back to work.
Her boss, Mr Lowery, is still out with a client, Mr Cassidy, but they soon return. Mr Cassidy wants to pay $40,000 cash on a house for his daughter's wedding gift. Mr Lowery advises Marion to take the cash to the safe at the bank for over the weekend.
She places it carefully in her handbag and heads off early as she has a headache.
She does not go to the bank. Instead she heads straight home and packs her bags. She decides to drive to see Sam. On the way out of town, her boss sees her as she stops at a pedestrian crossing. She is plagued by thoughts of how people are going to react. The drive is weary and she soon tires. She pulls over to sleep for a while. However, it is dawn when she is awoken by a highway patrolman who is concerned by her rather suspicious nature. He lets her go but later, when she decides she needs to swap cars at California Charlie's car yard, he follows. She pressures California Charlie into helping her swap her old car for a new one and she gives him $700 on top. She is irked by the presence of the policeman and panics, nearly leaving without her luggage which has yet to be transferred from her old car.
She continues on with her drive, now concerned about the discussion Charlie will be having with the cop.
The rain is heavy and she is forced to pull over at the Bates Motel.
No one is around initially, so she honks her horn and a young man comes down from the big house to greet her. He says his name is Norman Bates. He lets her have a room - cabin 1 - but she signs in as Marie Samuels from Los Angeles. Norman invites her to have a bite to eat up at the house. She goes to unpack while he goes to prepare. While she sorts herself, the rain stops and she is able to hear voices coming from the big house. Norman is being berated by an older woman who is chastising him for flirting with the new guest.
Eventually, Norman comes down with a tray holding some sandwiches and a jug. He thinks it's better than taking her up to the house.
They eat in the parlour behind the office. Norman talks of his taxidermy hobby and also his mother. As they talk about human nature amongst other things, Marion begins to realise the error of her ways. She makes her excuses and leaves to get an early night. She plans to return to Phoenix the following day. She even tries to work out how to pay back the money she has since spent.
She takes a shower - as she undresses, she is unaware that Norman is watching through a spy hole connecting the parlour with her cabin - and Norman does not watch for long - he retreats back to the house.
Marion steps into the shower and feels relaxed with a weight off her shoulders knowing she has planned to do the right thing.
However, her plan will never be executed as a tall feminine figure enters the bathroom, draws back the shower curtain and plunges a kitchen knife into Marion's vulnerable body. Stabbing repeatedly at the naked victim, Marion's cries do nothing to prevent her demise.
The woman darts out of the crime scene and back up to the house. Norman is horrified when he sees the blood. He heads down to cabin 1 and discovers Marion's corpse. He wraps it in the shower curtain and mops up the mess in the bathroom. He puts Marion's body along with her belongings (and the $40,000) in the trunk of her car. He takes it to the nearby swamp and sinks it.
The next week, Lila Crane, Marion's sister, goes to visit Sam Loomis in Fairvale at his hardware store. She is severely worried about Marion's whereabouts and considers that Sam might know - but he doesn't. A private detective named Arbogast arrives and starts asking questions. He spends a few days searching hotels and motels around the district. Eventually, after a long search, he comes across the Bates Motel.
He interviews Norman who seems edgy and reluctant to pass on information. Arbogast figures that Marion used Marie Samuels as an alias and goes to phone Lila to tell of his suspicions. He says he is going to return to the house to speak to Norman's mother and will return to Fairvale within an hour.
Back at the motel, Arbogast finds the place deserted. He walks up to the house and lets himself in. He ascends the stairs but as he reaches the top, a woman leaps out of one of the bedrooms and plunges a knife into his chest. Blood splatters on his face and he topples backwards down the stairs. The woman follows him down and throws herself on top of him and finishes him off.
Sam and Lila are very concerned three hours later when Arbogast has not returned. Sam intends to follow him. When he arrives, no one is there. Norman is at the swamp disposing of more evidence for his mother.
Sam heads back to Fairvale and he and Lila go to see the Sheriff. They tell of the whole story - including the stolen money - and the Sheriff is perplexed by the statements about the old woman at the house.
He says Mrs Bates died ten years ago.
The nest day, having met the Sheriff and his wife outside church, Sam and Lila decide to do their own investigating. They head out to the motel and pose as a married couple. Norman gives them cabin 10 but they snoop around cabin 1. They find a shower with no curtain and a piece of paper indicating sums regarding $40,000!
Sam goes to keep Norman occupied whilst Lila heads up to the house. Sam talks with Norman and Lila finds Mrs Bates' room - it is full of antiques and there's an indentation on the bed where she sleeps. Lila also finds Norman's room - full of childhood toys. As she heads back downstairs, Norman has grown suspicious. He hits Sam on the head and heads to the house. Lila sees him coming and hides down the stairs toward the cellar. Norman rushes in and heads immediately up to his mother's room.
Lila, out of curiosity, descends to the cellar. There she sees the old woman sitting with her back towards the door. Lila steps forward and touches the old woman's shoulder. The woman's body swivels in the chair and Lila sees the face of a woman - one that has long been dead, No eyes in the socket, no flesh around the mouth. She screams and then she hears someone coming down the stairs. In strides Norman, dressed in a wig and dress, clutching a knife. As he races forward, Sam appears from behind, grabbing Norman and restraining him. The wig falls off and Norman collapses.
At the county court house, Lila and Sam are recovering from their ordeal. A psychiatrist explains the nature of Norman's mind and about how he had murdered his mother ten years ago and then, through guilt, kept the idea of her alive, ultimately integrating her personality into his own.
Norman is alone in a cell with a blanket. His mother has taken over, perhaps permanently... she knows she had to confess Norman's sins. It was what she had to do, but she knows they'll look at her and know that she is innocent as she would never even harm a fly...
Norman: "12 cabins, 12 vacancies!"
Norman: "A hobby's supposed to pass the time, not fill it"
Norman: "A boy's best friend is his mother."
Marion: "Wouldn't it be better if you put her... some place?"
Norman: "You mean an institution? A madhouse? People always call a madhouse 'some place', don't they?"
Norman: "We all go a little mad sometimes."
Norman: "Mother, oh God, mother! Blood... blood!!"
Norman: "She might have fooled me, but she didn't fool my mother."
Sheriff Chambers: "If the woman up there is Mrs Bates, who's that woman buried out in Greenlawn Cemetary?"
Norma Bates (on how others will view her): "Why, she wouldn't even harm a fly..."
Anthony Perkins gives (in my opinion) one of cinema's finest and nuanced performances. Every line he delivers, every stutter, every twitch, is perfection.
Martin Balsam gives a confident and naturalistic performance as Arbogast and both Janet Leigh and Vera Miles are beautifully cast as sisters.
I have an enormous fondness for Patricia Hitchcock; partly because of her comic timing, her understated beauty and (mainly) because of her wonderful role in Strangers on a Train. Here she has a smaller role as Caroline, Marion's work colleague and although she does not get a huge amount of screen-time, she delivers every line brilliantly.
John Gavin is hot. enough said.
A lot of trivia about the film has been discussed for the past 50 years so I shan't spend time on noting that the blood was chocolate sauce or talk about the sequels and the bizarre remake. (I really admire Psycho II by the way!)
What I will mention though is the frequent use of crane shots throughout. These longer takes are so utterly fantastic to watch - they draw you in completely. The two best are the one immediately following the murder and the other when Norman is talking to his mother prior to taking her downstairs to the cellar. Fantastic.
Sometimes the film is better than the book. Psycho is proof of this.
It almost loses a mark for the rather long-winded explanation from the psychiatrist at the end, but the rest of the film is sublime, so I shall be forgiving.