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Hitchcock: His Talent, Movies, & Legacy
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<blockquote data-quote="Werewillie Oleson" data-source="post: 401626" data-attributes="member: 8"><p>The brilliance of NOTORIOUS is in its restraint and careful chess play, and at the same time it is that carefulness that allows the story to use the romantic misreadings that usually look more contrived or light-hearted in other films.</p><p>Cary Grant's character reminds me very much of FX's series THE AMERICANS about Americans played by KGB intelligence officers.</p><p>It's that conniving way of making another person fall in love with you and then give him or her <em>just enough</em> love in return to make it look real.</p><p>In that regard, Agent Devlin as the anti-James Bond looks just as perfectly flawed as REBECCA's Maxim De Winter.</p><p></p><p>But whereas the romance in REBECCA is supported by against-better-judgment optimism, the chemistry between Cary Grant and the formidable Ingrid Bergman is shrouded in cyncial coldness. His patriotism above everything else, her disillusion about her father's inappropriate patriotism.</p><p>They're not on different sides but they are very much on different wavelengths, which makes the story as unpredictable as a film of that period (and about that subject) could be.</p><p></p><p>The plot puts Alicia Huberman in the perfect position of a double agent, but I guess that would have undermined the romantic aspect of the film.</p><p>Still, it would have been a wicked twist.</p><p>Speaking of wicked, Madame Sebastian is entertaining as the mother with dangerous ideas.</p><p>The race against the champagne, the adulterous kiss to cover up a much bigger betrayal, the surprisingly fiercely social comment on bridge-playing wives, the low-key finale that keeps up the charades until the screen turns black - it's so wonderfully crafted.</p><p></p><p>Combined with the monster/disaster movie THE BIRDS I think this would be my Hitchcock Top 3.</p><p>Unless, of course, something better comes along.</p><p>I have a love/hate relationship with PSYCHO. It's sensational schlock that sullies my pretty Anthony Perkins, but at the same time that's what makes it so fascinating.</p><p>I don't know why everybody keeps talking and talking about the shower scene while the <em>twist</em> of killing off the criminal protagonist mid-film is just so much more spectacular. </p><p>See, I can easily talk myself into loving it.</p><p></p><p>Let's see if I can find another gem and change my mind about Hitchcock the filmmaker, although I have no (immediate) plans to rewatch VERTIGO. That film really sucks.</p></blockquote><p></p>
[QUOTE="Werewillie Oleson, post: 401626, member: 8"] The brilliance of NOTORIOUS is in its restraint and careful chess play, and at the same time it is that carefulness that allows the story to use the romantic misreadings that usually look more contrived or light-hearted in other films. Cary Grant's character reminds me very much of FX's series THE AMERICANS about Americans played by KGB intelligence officers. It's that conniving way of making another person fall in love with you and then give him or her [I]just enough[/I] love in return to make it look real. In that regard, Agent Devlin as the anti-James Bond looks just as perfectly flawed as REBECCA's Maxim De Winter. But whereas the romance in REBECCA is supported by against-better-judgment optimism, the chemistry between Cary Grant and the formidable Ingrid Bergman is shrouded in cyncial coldness. His patriotism above everything else, her disillusion about her father's inappropriate patriotism. They're not on different sides but they are very much on different wavelengths, which makes the story as unpredictable as a film of that period (and about that subject) could be. The plot puts Alicia Huberman in the perfect position of a double agent, but I guess that would have undermined the romantic aspect of the film. Still, it would have been a wicked twist. Speaking of wicked, Madame Sebastian is entertaining as the mother with dangerous ideas. The race against the champagne, the adulterous kiss to cover up a much bigger betrayal, the surprisingly fiercely social comment on bridge-playing wives, the low-key finale that keeps up the charades until the screen turns black - it's so wonderfully crafted. Combined with the monster/disaster movie THE BIRDS I think this would be my Hitchcock Top 3. Unless, of course, something better comes along. I have a love/hate relationship with PSYCHO. It's sensational schlock that sullies my pretty Anthony Perkins, but at the same time that's what makes it so fascinating. I don't know why everybody keeps talking and talking about the shower scene while the [I]twist[/I] of killing off the criminal protagonist mid-film is just so much more spectacular. See, I can easily talk myself into loving it. Let's see if I can find another gem and change my mind about Hitchcock the filmmaker, although I have no (immediate) plans to rewatch VERTIGO. That film really sucks. [/QUOTE]
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