Thursday, September 26, 2019

One Fan's List of the Best Hitchcock Films

On September 5, 2009 at 4:56 p.m., I published my first post for the Classic Film & TV Cafe. Suffice to say, there was a lot I didn't know about blogging. But here I am, 968 posts and ten years later, and I must say that I've had a wonderful time writing and managing the Classic Film & TV Cafe. To commemorate  the last decade, I thought it'd be fun to update my first post about my picks for Alfred Hitchcock's ten best films. To my surprise, other than re-ranking two films, I made few changes. Please note that there are spoilers in my write-ups!

1. Vertigo - This richly-layered masterpiece reveals its big twist when least expected--turning the film on its proverbial head. It causes love to blur with obsession and greed to give way to guilt and perhaps love. What we see at the bell tower is initially false, but ultimately true. I could go on and on…but, hey, whole books have been devoted to this film. I think it’s Hitch’s best job of writing (as usual uncredited) and directing…plus we get superb performances (especially from James Stewart), a marvelous San Francisco setting, an unforgettably disturbing score from Bernard Hermann, and a nifty Saul Bass title sequence.

2. Rear Window – My wife would rate this as No. 1, but she’s not writing this post! As with Vertigo, there are multiple layers to Rear Window. Taken alone, there’s nothing interesting about the mystery of the missing salesman’s wife. The movie is really about the relationship between Jeff and Lisa. Though she is rich, beautiful, and loves him (Stella describes her as “perfect”), Jeff refuses to commit to Lisa. He fears that doing so will cause him to sacrifice his exciting, globetrotting life as a magazine photographer. It is only when Lisa becomes his “legs” and joins in the investigation of the missing wife that Jeff realizes how bright and exciting she truly is. It’s part of the film’s offbeat humor, because, to the viewer, Grace Kelly's Lisa looks stunning and exciting from the moment she walks into Jeff’s apartment. To provide contrast to Jeff and Lisa’s evolving relationship, Hitchcock lets us spy—with Jeff—on his neighbors in the apartment complex. Their stories are effective mini-dramas that are funny, sad, and murderous: Miss Lonelyhearts (that’s what Jeff calls her) dresses up and sets a table nightly for an imaginary date; Miss Torso practices dancing routines in her underwear, but rejects all suitors when she throws a party (later we learn why); the composer struggles to finish his compositions at the piano in his studio apartment; and an older couple, with their little dog, sleep on the balcony because the nights are so warm. Technically, the film is one of Hitch’s finest achievements. Almost every shot is from the viewpoint of Jeff’s apartment, an amazing feat but also one that’s not distracting (unlike the ten-minute takes in Hitchcock’s Rope). Even the stagy sets work to the film’s advantage, for the apartment complex seems like its own artificial world.

3. Marnie – When I first saw Marnie as a teenager, it made no impression at all. I thought Tippi Hedren was miscast and Sean Connery dull. The plot--what there was of one--seemed thin and the characters lacked interest. Decades later, I watched it again and, to my complete surprise, I loved it! Tippi Hedren's subtle detached performance made Marnie a vulnerable, intriguing character. The progressively complex relationship between Marnie and Sean Connery’s character generated suspense--in its own quiet way--worthy of Hitch’s best man-on-the-run films. I was captivated by Hitch's finest use of color (especially during the opening scenes). And finally, there was Bernard Herrmann's incredible score (which, for me, ranks second only to Vertigo among his Hitchcock soundtracks). I've often wondered how I missed all of this the first time around?

4. The Birds – This one functions on two levels for me. It is, of course, a masterfully directed thriller about unexplained bird attacks in a small California seaside community (I love the playground and gas station sequences). But it’s also a well-acted 1960s relationship drama about three women and their interactions with the bland, but likable, Mitch Brenner (Rod Taylor). Mitch’s mother (wonderfully played by Jessica Tandy) fears losing her son to another woman—not because of jealousy, but because she can’t stand the thought of being abandoned. Young socialite Melanie Daniels (Tippi Hedren) views Mitch as a stable love interest, something she needs as she strives to live a more meaningful life. And Annie Hayworth (Suzanne Pleshette) is the spinster schoolteacher, willing to waste her life to be near Mitch after failing to pry him from his mother. These relationships are what the film is about—the birds are merely catalysts. That’s why the ending works for me; when the relationships are resolved, the bird attacks end.

5. Strangers on a Train – One of the cleverest (and most disturbing) premises of all Hitchcock films. The carousel climax is justly famous, but I favor the cigarette lighter in the drain. It’s a perfect example of how Hitch could generate suspense from a simple situation—with potentially disastrous consequences. I think Farley Granger and Robert Walker are pretty good in the leads, but not as strong as other Hitchcock stars.

6. Shadow of a Doubt – It took this one awhile to grow on me, but that makes sense in hindsight. Shadow of a Doubt is all about gradual realization. Charlie (Teresa Wright) slowly evolves from disbeliever (those accusations toward her beloved uncle could not be true!) to one who suspects the truth to believer to would-be victim. It’s a chilling tale, all the more so because it’s set against the backdrop of a friendly Thorton Wilder town.

7. North by Northwest – I think of this as something of a lark for all involved, but that’s partially why it’s so much fun. It’s my favorite of Hitch’s man-on-the-run films and James Mason, who plays the villain straight, is the perfect foil for Cary Grant. I only wish the Mount Rushmore scenes looked a little more realistic and Roger’s mother had more scenes.

8. Psycho – It’s hard to gauge the impact of Psycho now, but I can remember how shocked I was when I first saw it. I knew Janet Leigh was a major actress and so I was more than a little shocked to see what happened to her character of Marion Crane. (By the way, I was equally shocked when Arbogast was killed…filmed from that disorienting overhead camera angle). It’s really a fine film--more than a shocker--and also offers good performances, great Hermann music, and (once again) memorable Saul Bass titles. And I guess that shower scene turned out to be a little influential.

9. Rebecca - It’s too bad that David Selznick and Hitchcock didn’t get along better, because this collaboration is an excellent, atmospheric adaptation of Daphne Du Maurier’s novel. I love how the cheeriness of the opening scenes between the future Mrs. De Winter and Maxim contrast with the later scenes at Manderley. The cast is pitch perfect with Judith Anderson and George Sanders standing out in supporting roles. Like many people, my favorite scene is when Mrs. Danvers suggests that maybe the second Mrs. De Winters should just end it all.

10. Young and Innocent and Stage Fright (tie) – I am now officially in trouble with fans of Notorious, The 39 Steps, The Lady Vanishes, and Frenzy. Those are all fine films and I would list them in my top 20. But I must confess that I enjoy the two listed in my #10 spot more than those movies. The seldom-shown Young and Innocent is a fine early man-on-the-run film with sweet performances and its share of great scenes (e.g., carving meat at the dinner table, the great tracking shot leading to the killer’s twitching eye). As for Stage Fright, I’ll say upfront that the controversial flashback doesn’t bother me at all; I don’t understand the big fuss. Stage Fright makes this list on the basis of sheer fun and a delightful cast (Jane Wyman, Marlene Dietrich, Richard Todd, Alastair Sim, Sybil Thorndike, and Michael Wilding at his most charming). I saw it late among Hitch’s films and I never fail to be entertained when I watch it again.

Honorable Mentions: Those mentioned in No. 10 that will get me in trouble for omitting…plus To Catch a Thief, Secret Agent, Blackmail, the underappreciated I Confess, and Sabotage (with the controversial bomb scene).

28 comments:

  1. Terrific list. I agree about the much talked about flashback sequence in STAGE FRIGHT. Not only did it not bother me, but I thought it was quite clever. I also really enjoy Hitch's films NOTORIOUS, FRENZY and SABOTEUR. You're not "in trouble" with me. It's your list. You can't please all the Hitchcock fans all the time!

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  2. Hitch first played with idea of doing a film with one set when he did Lifeboat. But concerning your list... Rear Window should be #1, and I'm writing this post

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  3. My wife agrees with you, Austin, and probably other family members, too. But, hey, I still stand by Vertigo!

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  4. Well, Rope is not on my list! It's an interesting film, especially with single set and the long ten-minute takes. But the cat-and-mouse game doesn't sustain itself for me. Perhaps, I'd like it better if other actors played the murderers. Have you seen Compulsion, which was also based on the Loeb-Leopold murders?

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  5. I like your list. Iam a huge HITCHCOCK fan. i have most of his films in my DVD collection. The only film i really dont care for is Marnie. after reading your review i may give it another chance.

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  6. Dawn, the first time I saw Marnie, it made no impact at all. But I eventually came to appreciate your virtues. Hope your next viewing is more rewarding, too.

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  7. As a huge Hitchkock fan, loving your list. As a classic film lover,(and know this statement may cause some controversy) your movie choices are mostly guy flicks. The 'Seven Samuarais' may be an influential film for Westerns movies makers (the Magnificent Seven, I get it) but most woman dont care. All real movie lovers enjoy subtitled movies but I really wonder if anyone besides male film students got through Seven Samurai...and c'mon, Point Break? Gunsmoke? Route 66? This is more of a 'Cool Guy' movie classic blogsite...

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  8. not to worry jerimoceri, with me around you will get your fair share of "chick flicks" ;-)

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  9. Watched VERTIGO (again!) last night on TCM and it just reconfirmed my (our?) opinion of its greatness and that it deserves the #1 slot. We've had this discussion before about MARNIE and THE BIRDS (IMHO: good, not great)...so I'm not going there but will encourage you to view NOTORIOUS again...it's definitely Top 5 Hitchcock...

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  10. Personally, I'd have NOTORIOUS at #1.

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  11. Congratulations, Rick, for ten awesome years of blogging! Revisiting Hitchcock is a perfect way to celebrate.

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  12. Rear Window is my personal #1. I can never forget Raymond Burr's performance near the end. He may not have become a star with the film, but he certainly was noticed.

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  13. Burr was already #1 noir heavy. Hitchcock cast him so he could make him up to look like David O. Selznick.

    The most notable thing about Stage Fright for me was Marlene's number was brilliantly parodied in Blazing Saddles.,

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    1. A very good Hitchcock, but not one of the top tier in my opinion. By the way, the book is different and very good in its own right. There are several sequels, too.

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  15. I wish Roger's mother had more scenes, too, in North by Northwest.

    So pleased to see Shadow of a Doubt on the list, as well as Stage Fright. Those are in my top 5.

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  16. Great list Rick, here are my top ten favs,

    Rear Window
    North by Northwest
    Vertigo
    Notorious
    Strangers on a Train
    Psycho
    Shadow of a Doubt
    The Birds
    The 39 Steps
    Dial M For Murder
    Rebecca

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    1. John, we had this discussion on Twitter yesterday and I was surprised by the popularity of DIAL M FOR MURDER. I like it, but it seems very much like a stage (which it was).

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  17. A noble undertaking, as it is really impossible to pick a top 10. My "favorite" Hitch changes constantly but right now it is very much Rebecca. Although I think Vertigo is acknowledged by most critics as not only his best, but one of the best American films ever made.

    I won't ask, for example, why the universally admired Notorious isn't on your list - just bought and watched the amazing Criterion Collection Blu-ray. Because many films might deserve to be, but don't make it. So, once, again, a noble effort, I applaud you.

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    1. Sight and Sound, the long-time British magazine, surveys film critics every ten years to come up with a greatest films list. RULES OF THE GAME topped the list for for a decades, but VERTIGO dethroned it.

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  18. Good list, thank you! I haven't (yet) seen Shadow Of A Doubt, Young And Innocent and Stage Fright, but I'll now look for them.

    I'm not a big fan of Strangers On A Train. I suspect Dial M For Murder would definitely make my top 10, and maybe also Rope. I'm a bit surprised no one has mentioned Foreign Correspondent.

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  19. We're big fans of Young and Innocent in the Nolan family. It was introduced to us by our beloved Elwy Yost on Magic Shadows (Ontario Public Television, TVO).

    My list of 10 fave from Hitch was made in 2010 and I'll let it stand. Chronologically: The 39 Steps, The Lady Vanishes, Foreign Correspondent, Shadow of a Doubt, Notorious, Dial M for Murder, Rear Window, The Trouble With Harry, North by Northwest, Psycho

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  20. Nice list. Vertigo is definitely, for me, at the top of the list, as it has more complex psychological angles than many of Hitch's other films. Also Shadow of a Doubt for the same reason.

    Tam May
    The Dream Book Blog
    https://www.tammayauthor.com

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  21. I'd fit Foreign Correspondent in there somewhere, and not really top tier Hitchcock, but To Catch a Thief is an entertaining movie. I saw Young and Innocent several years ago, that's a good one, it has one of those classic Hitchcock shots, I think anyone who has seen it would know which shot I mean.

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  22. Talking about Hitchcock films is always fun. Shadow of a Doubt remains my all-time favorite, and I was glad to learn that it was Hitchcock’s as well. Young Charlie is such a great character, and you feel the weight she’s bearing of trying to keep the devastating knowledge from her mother, even at the risk of her life. After that, my favorites are Foreign Correspondent (“I represent the Jupiter Insurance Company”; Edmund Gwen is as good a baddie as he was Santa Claus!; and I wish we could seem of the brilliant and underrated Albert Basserman), Rear Window, Strangers on a Train, The Birds, The Man Who Knew Too Much (both versions are good but the ’34 remains my favorite), Saboteur, Stage Fright, Psycho, and Rebecca. Vertigo is fascinating to watch, but I end up hating Jimmy Stewart’s character every time.

    I want to try and see more of Hitchcock’s early films before he developed his signature touch (he made at least 39 before 1934s TMWKTM). Not long ago I saw The Skin Game and it was very good.

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  23. I would change Marnie and Young and Innocent by Notorious and 39 Steps.

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