Alfred-Hitchcock Movie Reviews

I have seen this "classic" video many times and still continue to enjoy it. I am proud to display it with my other Hitchcock Collections as it is often a favorite pick. This video contains three Hitchcock stories- each one delivering a creative and cleverly crafted plot that ends with a stupefying and much impressive "twist".

1943's SHADOW OF A DOUBT is an allegorical study of Americana seen through the naivete of a typical family in a quiet and slumberous community. When evil comes to town in the embodiment of the beloved Uncle Charlie (Joseph Cotton) it is the perceptive niece Young Charlie (Teresa Wright) that slowly uncovers his true identity as the Merry Widow murderer. Henry Travers and Hume Cronyn spend their evenings concocting ways to commit the perfect murder unknowingly under the watchful eyes of the genuine article. Evil takes many shapes and hides behind many facades in broad daylight. Would the wholesome average American community recognize such evil and be willing to deal with it? Dimitri Tiomkin, composed a brilliant score utilizing American idioms laced with the darkness of the tainted soul. This remains one of Hitchcock's best films since it works, as a thriller yet remains a true reflection of a good-natured but generally complacent lifestyle. 1948's ROPE is a thoroughly enthralling and disturbing look at a thrill killing perpetrated by two prep-school chums (John Dall and Farley Granger) possibly suggested subconsciously by their unwitting professor (James Stewart). This film has often been characterized notably only as Hitchcock's great experiment. He shot it in ten-minute takes contrary to his stylistic use of effective story telling through editing. This was a technique that he also employed to a lesser degree by Hitchcock in 1949's UNDER CAPRICORN. However, ROPE is first and foremost a riveting tale bordering on the perverse. 1954's REAR WINDOW is a brilliant study on voyeurism and insatiable curiosity. Wheelchair bound James Stewart spies on his neighbors in the courtyard from the window of his Greenwich Village apartment. Convinced that he has uncovered a murder, Stewart maintains his vigil with his society girlfriend (Grace Kelly) by his side. Hitchcock asks the viewer about the ethics of interpreting what goes on behind the closed doors of our neighbors, as his courtyard is an allegorical cross section of American society and mores during the 50s. 1956'S THE MAN WHO KNEW TOO MUCH is Hitchcock's effective remake of his own 1934 version. An American couple (James Stewart and Doris Day) visiting Morocco have their young son kidnapped as part of an international murder plot which they can not help but be drawn into. Doris Day's performance is brilliant as the mother whose son has been taken from her. Her initial reaction to the news is almost unbearable to watch. This film is very suspenseful and disturbing, as the odds against the family regaining their boy seem insurmountable as the film progresses. This is reinforced by Bernard Herrmann's almost minimal score, which adds an undercurrent of discomfort to the psyche of the viewer. There are some very memorable scenes such as when James Stewart is followed by echoing footsteps in the empty London streets on his way to finding Ambrose Chappell. The suspenseful Albert Hall assassination scenes are brilliantly filmed and edited. The face of Reggie Nalder as Rien the Assassin is unforgettable. Brenda de Banzie turns in a complex performance as Mrs. Drayton. Bernard Miles as Mr. Drayton also gives an effective performance through the various identities he goes through. And that is one of the strengths of this film: people and places are not exactly as they seem. Characters constantly evolve. Some grow in strength while others are mere shadows of virtue. 1960'S PSYCHO is probably Hitchcock's best known film. Its images and sounds are indelibly etched into the psyche of our culture. Anthony Perkins as Norman Bates, the Bates Motel, Bernard Herrmann's score, Saul Bass' main title designs, the shower scene and many other elements are cinematic icons. One element of this film that has not been given due recognition is Martin Balsam's performance as Milton Arbogast the private investigator. Balsam embodied the personification of professionalism and determination yet he was cut off in mid stream. I think there is a statement being made about the very nature of justice and fate and that life is not always fair. 1969's TOPAZ was Hitchock's second return in that decade to his earlier spy thriller films. Shot directly after 1966's TORN CURTAIN Hitchcock TOPAZ is a more matter-of-fact tale than a genuine thriller where real lives were at stake. Essentially an American intelligence head (John Forsythe) uses his friend in the French Intelligence (Frederick Stafford) to spy for the United States in Cuba and at the same time they try to ferret out a high French official passing on secrets to the Soviets. Roscoe Lee Browne as Philippe Dubois has the best scenes in the film as he has to get close to the Cubans visiting New York to photograph some secret papers from a high official (John Vernon as Rico Parra). These scenes were what Hitchcock called pure cinema. TOPAZ contains an interesting score by Parisian Maurice Jarre. 1976's FAMILY PLOT was Hitchcock's final film. In an interview with François Truffaut, Hitchcock stated that in today's films you no longer had to close the picture with a kiss. The audience no longer needed it or expected it. The romanticism of the motion picture was dead. If not for the performances of Barbara Harris as a phony psychic and Bruce Dern as her taxi driving-detective-boyfriend this film would have indeed lacked any hint of romanticism. In a complex plot that involves the location of a missing heir the lives of Harris and Dern become intertwined with the villains of the piece (William Devane and Karen Black). Ultimately the film seems more akin to ALFRED HITCHCOCK PRESENTS than to Hitchcock's previous films. However, there's nothing wrong with that.

By far the better rendition of his two versions of this film, this lacks the cinematic finish of the 50's version, but the characters are far more fully realized.

The title character, played by Leslie Banks, is courageous, with reserviors of strength under a surface that at first seems flip and shallow. He never needs to raise his voice to make his resolve felt. Edna Best's character is no whining, fainting cliche who needs to be drugged and put to bed, but a passionate, accomplished woman who will risk everything to save her family. These two people are absolutely united in their determination to save what they love most.

Banks and Best aren't as pretty as James Stuart and Doris Day, the locale is not exotic, but these ordinary looking people bring quiet power to their roles. The villians are truely self-absorbed and cruel, playing with their victims. This is a story of decency and honor versus selfishness and corruption. The ending knocked my socks off, it was so unexpected.

My copy is a scratchy black and white, and the scene transitions aren't always smooth, but you haven't seen "The Man Who Knew Too Much" if the you are familiar only with the sleek Stewart/Day version.

I am a big fan of horror, and believe me, I've watched a lot of them. Indeed, I don't feel like I'm affiliated to any sub-genre in particular. I can enjoy slasher films, as well as those dealing with extreme gore, psychological horror, dramatic horror and suspense, and the atmospheric ones too (my favorites). The problem with this film is not it's age, it's not that is made on B&W, it's simply that is too long and quite frankly, too boring!

The vast majority of the times I visit Amazon and read the reviews, people almost always hit it right on describing the movie and those with very mixed opinions result to be either average or slightly good when I watch them. This time, I must admit that I'm apalled by the huge amount of praise and good reviews this film gets. Almost every respectable horror fan and website, as well as film critics qualify this one as a topnotch horror film. Honestly, I don't see why. The movie is very boring, and the only thing that keeps you awake is the remarkably good and vivid score of Bernard Hermann. The shower scene is undeniably well-made....for that era...but it looks pretty ridiculous for todays' standards if you ask me. I mean, volumes have been written about the masterful editing and handling of this particular scene, and I truly was not impressed by it.

Perhaps I need to watch Psycho again on a better print, or watch it on a good home theater on DVD, but my first experience with it was incredibly dissapointing.

It makes me chuckle when hearing people say that the remake is more entertaining and scary than this Hitchcock classic. The remake can't hold a candle to it (not to mention that it's absolutely horrible in its own right). I remember when I first got this movie for my birthday about 3 years ago. I popped it in and was thoroughly entertained throughout... that is until the now famous shower scene came on. I literally had to shut the movie off for about ten minutes and catch a breath. My heart was beating a mile a minute. These are often overused and nonfactual ways to describe how good a scene in a film is, but it's the truth. After 40 years, this movie still scares the bejeezus out of true film buffs who appreciate fine art. Apparantly, this was Hitchcock's finest and most terrifying film, and it's not a shock to understand why. The acting, lighting and camera angles are absolutely incredible. And everyone's heard Bernard Herrman's much imitated musical score. A film this suspenseful and frightening probably won't make its way into the movie scene anytime soon. Wes Craven's Scream? Give me a break. While entertaining, it's close to impossible to even suggest that it is up to par with this vivid masterpiece. The same goes for an abundant number of films, too. Bravo.

Hitchcock's Psycho shocked filmgoers in many ways -- he had the sympathetic lead killed early in the movie, a gruesome (though nearly bloodless) murder scene, strong symbolism (look at all the 'bird' images in the film), a return to stark black & white filming accompanied by Bernard Herrmann's strings-only soundtrack, and sophisticated marketing. Hitch was always a bit ahead of his time, and this is one of his pictures that really makes that point.

This DVD edition looks and sounds great, and has many bonus features: the excellent one-and-a-half hour documentary, 'The Making of Psycho', which includes interviews with Hitchcock's daughter and leading lady Janet Leigh; a small but interesting set of production notes; information about the cast and filmmakers; theatrical and re-release trailers and newsreel footage of the film's release; the shower scene with and without music -- this was very interesting. There were also some bonus features that I couldn't get to run on my G4 Macintosh: production and behind-the-scenes photos; shower scene storyboards; lobby cards; posters and ads. The film can be heard in English or French, and subtitles are in English or Spanish.

This is a landmark film. It looks and sounds good. The bonus features are very good. Highly recommended.

I am a big fan of horror, and believe me, I've watched a lot of them. Indeed, I don't feel like I'm affiliated to any sub-genre in particular. I can enjoy slasher films, as well as those dealing with extreme gore, psychological horror, dramatic horror and suspense, and the atmospheric ones too (my favorites). The problem with this film is not it's age, it's not that is made on B&W, it's simply that is too long and quite frankly, too boring!

The vast majority of the times I visit Amazon and read the reviews, people almost always hit it right on describing the movie and those with very mixed opinions result to be either average or slightly good when I watch them. This time, I must admit that I'm apalled by the huge amount of praise and good reviews this film gets. Almost every respectable horror fan and website, as well as film critics qualify this one as a topnotch horror film. Honestly, I don't see why. The movie is very boring, and the only thing that keeps you awake is the remarkably good and vivid score of Bernard Hermann. The shower scene is undeniably well-made....for that era...but it looks pretty ridiculous for todays' standards if you ask me. I mean, volumes have been written about the masterful editing and handling of this particular scene, and I truly was not impressed by it.

Perhaps I need to watch Psycho again on a better print, or watch it on a good home theater on DVD, but my first experience with it was incredibly dissapointing.

It makes me chuckle when hearing people say that the remake is more entertaining and scary than this Hitchcock classic. The remake can't hold a candle to it (not to mention that it's absolutely horrible in its own right). I remember when I first got this movie for my birthday about 3 years ago. I popped it in and was thoroughly entertained throughout... that is until the now famous shower scene came on. I literally had to shut the movie off for about ten minutes and catch a breath. My heart was beating a mile a minute. These are often overused and nonfactual ways to describe how good a scene in a film is, but it's the truth. After 40 years, this movie still scares the bejeezus out of true film buffs who appreciate fine art. Apparantly, this was Hitchcock's finest and most terrifying film, and it's not a shock to understand why. The acting, lighting and camera angles are absolutely incredible. And everyone's heard Bernard Herrman's much imitated musical score. A film this suspenseful and frightening probably won't make its way into the movie scene anytime soon. Wes Craven's Scream? Give me a break. While entertaining, it's close to impossible to even suggest that it is up to par with this vivid masterpiece. The same goes for an abundant number of films, too. Bravo.

Hitchcock's Psycho shocked filmgoers in many ways -- he had the sympathetic lead killed early in the movie, a gruesome (though nearly bloodless) murder scene, strong symbolism (look at all the 'bird' images in the film), a return to stark black & white filming accompanied by Bernard Herrmann's strings-only soundtrack, and sophisticated marketing. Hitch was always a bit ahead of his time, and this is one of his pictures that really makes that point.

This DVD edition looks and sounds great, and has many bonus features: the excellent one-and-a-half hour documentary, 'The Making of Psycho', which includes interviews with Hitchcock's daughter and leading lady Janet Leigh; a small but interesting set of production notes; information about the cast and filmmakers; theatrical and re-release trailers and newsreel footage of the film's release; the shower scene with and without music -- this was very interesting. There were also some bonus features that I couldn't get to run on my G4 Macintosh: production and behind-the-scenes photos; shower scene storyboards; lobby cards; posters and ads. The film can be heard in English or French, and subtitles are in English or Spanish.

This is a landmark film. It looks and sounds good. The bonus features are very good. Highly recommended.

I am a big fan of horror, and believe me, I've watched a lot of them. Indeed, I don't feel like I'm affiliated to any sub-genre in particular. I can enjoy slasher films, as well as those dealing with extreme gore, psychological horror, dramatic horror and suspense, and the atmospheric ones too (my favorites). The problem with this film is not it's age, it's not that is made on B&W, it's simply that is too long and quite frankly, too boring!

The vast majority of the times I visit Amazon and read the reviews, people almost always hit it right on describing the movie and those with very mixed opinions result to be either average or slightly good when I watch them. This time, I must admit that I'm apalled by the huge amount of praise and good reviews this film gets. Almost every respectable horror fan and website, as well as film critics qualify this one as a topnotch horror film. Honestly, I don't see why. The movie is very boring, and the only thing that keeps you awake is the remarkably good and vivid score of Bernard Hermann. The shower scene is undeniably well-made....for that era...but it looks pretty ridiculous for todays' standards if you ask me. I mean, volumes have been written about the masterful editing and handling of this particular scene, and I truly was not impressed by it.

Perhaps I need to watch Psycho again on a better print, or watch it on a good home theater on DVD, but my first experience with it was incredibly dissapointing.

It makes me chuckle when hearing people say that the remake is more entertaining and scary than this Hitchcock classic. The remake can't hold a candle to it (not to mention that it's absolutely horrible in its own right). I remember when I first got this movie for my birthday about 3 years ago. I popped it in and was thoroughly entertained throughout... that is until the now famous shower scene came on. I literally had to shut the movie off for about ten minutes and catch a breath. My heart was beating a mile a minute. These are often overused and nonfactual ways to describe how good a scene in a film is, but it's the truth. After 40 years, this movie still scares the bejeezus out of true film buffs who appreciate fine art. Apparantly, this was Hitchcock's finest and most terrifying film, and it's not a shock to understand why. The acting, lighting and camera angles are absolutely incredible. And everyone's heard Bernard Herrman's much imitated musical score. A film this suspenseful and frightening probably won't make its way into the movie scene anytime soon. Wes Craven's Scream? Give me a break. While entertaining, it's close to impossible to even suggest that it is up to par with this vivid masterpiece. The same goes for an abundant number of films, too. Bravo.

Hitchcock's Psycho shocked filmgoers in many ways -- he had the sympathetic lead killed early in the movie, a gruesome (though nearly bloodless) murder scene, strong symbolism (look at all the 'bird' images in the film), a return to stark black & white filming accompanied by Bernard Herrmann's strings-only soundtrack, and sophisticated marketing. Hitch was always a bit ahead of his time, and this is one of his pictures that really makes that point.

This DVD edition looks and sounds great, and has many bonus features: the excellent one-and-a-half hour documentary, 'The Making of Psycho', which includes interviews with Hitchcock's daughter and leading lady Janet Leigh; a small but interesting set of production notes; information about the cast and filmmakers; theatrical and re-release trailers and newsreel footage of the film's release; the shower scene with and without music -- this was very interesting. There were also some bonus features that I couldn't get to run on my G4 Macintosh: production and behind-the-scenes photos; shower scene storyboards; lobby cards; posters and ads. The film can be heard in English or French, and subtitles are in English or Spanish.

This is a landmark film. It looks and sounds good. The bonus features are very good. Highly recommended.

As much "art" film as Hollywood product, VERTIGO was generally savaged by critics upon its release; today it is widely regarded as Hitchcock's single finest film. The story is extremely well known: a retired police detective with an incapacitating fear of heights, Scottie, is engaged to shadow a beautiful woman, Madeline, whose husband suspects her of being suicidal. Scottie soon becomes obsessive about Madeline--but circumstances quickly spin out of control, and his love turns to tragedy and maddness.

Unlike most Hitchcock films, VERTIGO unfolds slowly, drawing the viewer into the relationship between Scottie and Madeline at the same pace as the characters experience it. At the same time, Hitchcock presents the viewer with a number of visual motifs (such as the famous spirals found in the film) to reenforce the increasingly disturbed nature of the story. As the film progresses, VERTIGO develops a powerfully hypnotic quality rather like the dreamed nightmare of a slow-motion fall.

To a certain extent, the stars of VERTIGO are cast against type. This is particularly true of James Stewart, who is best known as the All-American Everyman, and his performance as the increasingly neurotic Scottie is all the more disturbing for our knowledge of his more typical performances. Although usually noted more for beauty than for acting ability, Kim Novack gives a remarkable and extremely believable turn in what is easily the finest performance of her career. The supporting cast--which includes particularly fine performances by Barbara Bel Geddes and Konstantin Shayne--is also excellent, and Bernard Hermann's excellent score adds tremendous dimension to the film. Some viewers, particularly those enamoured of such rapid-fire Hitchcock romps as TO CATCH A THIEF and NORTH BY NORTHWEST, may find themselves impatient with the film's leisurely pace; some viewers will themselves unable to see beyond the twists in the script to grasp Hitchcock's statement on obsessive love. But for most viewers--myself included--this is the penultimate Hitchcock film, the great masterpiece by a director reknowned for masterpieces. A personal favorite, and very highly recommended.

Vertigo would probably not make my list of the top five Hitchcock movies, but not because it is not five stars. It is every bit of that and then some. It's just that I like some others a little more. This may be Sir Alfred's most complex and deep movie ever. Unlike North by Northwest, which came out the year after Vertigo and was very much a fast paced action film without a lot of thinking involved, Vertigo takes place almost exclusively in the characters' minds. Until you realize that, the movie can seem slow and dull. Once you see how Jimmy Stewart is manipulated, you understand the horror of Vertigo.

Stewart plays Scottie, a former detective who had to quit because he lost a partner in an unfortunate fall from a roof. Scottie developed a fear of heights from this accident and has vertigo when he climbs even a little ladder. This renders him almost useless in the field of detective work.

A former friend named Gavin, knowing Scottie is out of work, hires him to trail his wife (Kim Novak). Gavin thinks his wife is crazy, that she believes she is someone who died many years ago. Scottie reluctantly takes the job and begins following the woman to report to Gavin how she spends her afternoons. It is strange what she does.

What I have done is just set the physical scene. But believe me, the real story is ahead. There is tragedy in the movie, along with a complete switch of characters. Eventually the watcher learns what has happened to the characters in the movie, but the way Stewart is cruelly manipulated throughout is tragic. I would rather not give away what is really going on. I would only encourage you to give the film at least two viewings to try to catch the whole story

This has been called Hitchcock's most personal film. It is certainly the most emotional of his work, showing the heartbreak that comes with true love being ripped away in an incredibly cruel manner. It took me several viewings to really grasp what this movie was about. I have loved it since.

By the way, the top 5 Hitchcock movies in my opinion:
1) Notorious
2) North by Northwest
3) Psycho
4) Rear Window
5) Strangers on a Train

To say that VERTIGO is merely good is an understatement of the first order. It is arguably the crowning achievement of Alfred Hitchcock's career and indisputably the greatest example of pure emotion expressed in cinematic form from among his fifty three films.

A basic overview of the story: Scottie (Jame Stewart), a retired detective, is hired to investigate the daily routines of Madeleine (Kim Novak), a former collegemate's wife. Madeleine, according to her husband, is haunted and possessed by the vengeful spirit of her suicidal grandmother. As he follows her around varying locales of San Francisco, Scottie becomes evermore intrigued by her strange behavior. Soon he finds himself rescuing her from the waters below Golden Gate bridge in what was an apparent suicide attempt. Things quickly get complicated.

Although there are several well-executed plot twists, they are not there as the main focus of the film. Rather, like the cinematography, acting, and wonderful score by Bernard Herrmann, they serve to establish the raw emotions of Scottie onscreen. These elements work in perfect harmony to convey the growing, and ultimately tragic, obsessiveness that consumes him. This obsession becomes almost tangible in the way that it enthralls the viewer as well. We are privy to the mental state of Scottie, and like him, we are drawn in, not by the Madeleine he knows, but by the Madeleine that is constructed in the images and sounds of cinematic perfection.

I give VERTIGO my highest recommendation. The extras on this DVD are very good as well, and simply icing on an already delicious cake.

As much "art" film as Hollywood product, VERTIGO was generally savaged by critics upon its release; today it is widely regarded as Hitchcock's single finest film. The story is extremely well known: a retired police detective with an incapacitating fear of heights, Scottie, is engaged to shadow a beautiful woman, Madeline, whose husband suspects her of being suicidal. Scottie soon becomes obsessive about Madeline--but circumstances quickly spin out of control, and his love turns to tragedy and maddness.

Unlike most Hitchcock films, VERTIGO unfolds slowly, drawing the viewer into the relationship between Scottie and Madeline at the same pace as the characters experience it. At the same time, Hitchcock presents the viewer with a number of visual motifs (such as the famous spirals found in the film) to reenforce the increasingly disturbed nature of the story. As the film progresses, VERTIGO develops a powerfully hypnotic quality rather like the dreamed nightmare of a slow-motion fall.

To a certain extent, the stars of VERTIGO are cast against type. This is particularly true of James Stewart, who is best known as the All-American Everyman, and his performance as the increasingly neurotic Scottie is all the more disturbing for our knowledge of his more typical performances. Although usually noted more for beauty than for acting ability, Kim Novack gives a remarkable and extremely believable turn in what is easily the finest performance of her career. The supporting cast--which includes particularly fine performances by Barbara Bel Geddes and Konstantin Shayne--is also excellent, and Bernard Hermann's excellent score adds tremendous dimension to the film. Some viewers, particularly those enamoured of such rapid-fire Hitchcock romps as TO CATCH A THIEF and NORTH BY NORTHWEST, may find themselves impatient with the film's leisurely pace; some viewers will themselves unable to see beyond the twists in the script to grasp Hitchcock's statement on obsessive love. But for most viewers--myself included--this is the penultimate Hitchcock film, the great masterpiece by a director reknowned for masterpieces. A personal favorite, and very highly recommended.

Vertigo would probably not make my list of the top five Hitchcock movies, but not because it is not five stars. It is every bit of that and then some. It's just that I like some others a little more. This may be Sir Alfred's most complex and deep movie ever. Unlike North by Northwest, which came out the year after Vertigo and was very much a fast paced action film without a lot of thinking involved, Vertigo takes place almost exclusively in the characters' minds. Until you realize that, the movie can seem slow and dull. Once you see how Jimmy Stewart is manipulated, you understand the horror of Vertigo.

Stewart plays Scottie, a former detective who had to quit because he lost a partner in an unfortunate fall from a roof. Scottie developed a fear of heights from this accident and has vertigo when he climbs even a little ladder. This renders him almost useless in the field of detective work.

A former friend named Gavin, knowing Scottie is out of work, hires him to trail his wife (Kim Novak). Gavin thinks his wife is crazy, that she believes she is someone who died many years ago. Scottie reluctantly takes the job and begins following the woman to report to Gavin how she spends her afternoons. It is strange what she does.

What I have done is just set the physical scene. But believe me, the real story is ahead. There is tragedy in the movie, along with a complete switch of characters. Eventually the watcher learns what has happened to the characters in the movie, but the way Stewart is cruelly manipulated throughout is tragic. I would rather not give away what is really going on. I would only encourage you to give the film at least two viewings to try to catch the whole story

This has been called Hitchcock's most personal film. It is certainly the most emotional of his work, showing the heartbreak that comes with true love being ripped away in an incredibly cruel manner. It took me several viewings to really grasp what this movie was about. I have loved it since.

By the way, the top 5 Hitchcock movies in my opinion:
1) Notorious
2) North by Northwest
3) Psycho
4) Rear Window
5) Strangers on a Train

To say that VERTIGO is merely good is an understatement of the first order. It is arguably the crowning achievement of Alfred Hitchcock's career and indisputably the greatest example of pure emotion expressed in cinematic form from among his fifty three films.

A basic overview of the story: Scottie (Jame Stewart), a retired detective, is hired to investigate the daily routines of Madeleine (Kim Novak), a former collegemate's wife. Madeleine, according to her husband, is haunted and possessed by the vengeful spirit of her suicidal grandmother. As he follows her around varying locales of San Francisco, Scottie becomes evermore intrigued by her strange behavior. Soon he finds himself rescuing her from the waters below Golden Gate bridge in what was an apparent suicide attempt. Things quickly get complicated.

Although there are several well-executed plot twists, they are not there as the main focus of the film. Rather, like the cinematography, acting, and wonderful score by Bernard Herrmann, they serve to establish the raw emotions of Scottie onscreen. These elements work in perfect harmony to convey the growing, and ultimately tragic, obsessiveness that consumes him. This obsession becomes almost tangible in the way that it enthralls the viewer as well. We are privy to the mental state of Scottie, and like him, we are drawn in, not by the Madeleine he knows, but by the Madeleine that is constructed in the images and sounds of cinematic perfection.

I give VERTIGO my highest recommendation. The extras on this DVD are very good as well, and simply icing on an already delicious cake.

As much "art" film as Hollywood product, VERTIGO was generally savaged by critics upon its release; today it is widely regarded as Hitchcock's single finest film. The story is extremely well known: a retired police detective with an incapacitating fear of heights, Scottie, is engaged to shadow a beautiful woman, Madeline, whose husband suspects her of being suicidal. Scottie soon becomes obsessive about Madeline--but circumstances quickly spin out of control, and his love turns to tragedy and maddness.

Unlike most Hitchcock films, VERTIGO unfolds slowly, drawing the viewer into the relationship between Scottie and Madeline at the same pace as the characters experience it. At the same time, Hitchcock presents the viewer with a number of visual motifs (such as the famous spirals found in the film) to reenforce the increasingly disturbed nature of the story. As the film progresses, VERTIGO develops a powerfully hypnotic quality rather like the dreamed nightmare of a slow-motion fall.

To a certain extent, the stars of VERTIGO are cast against type. This is particularly true of James Stewart, who is best known as the All-American Everyman, and his performance as the increasingly neurotic Scottie is all the more disturbing for our knowledge of his more typical performances. Although usually noted more for beauty than for acting ability, Kim Novack gives a remarkable and extremely believable turn in what is easily the finest performance of her career. The supporting cast--which includes particularly fine performances by Barbara Bel Geddes and Konstantin Shayne--is also excellent, and Bernard Hermann's excellent score adds tremendous dimension to the film. Some viewers, particularly those enamoured of such rapid-fire Hitchcock romps as TO CATCH A THIEF and NORTH BY NORTHWEST, may find themselves impatient with the film's leisurely pace; some viewers will themselves unable to see beyond the twists in the script to grasp Hitchcock's statement on obsessive love. But for most viewers--myself included--this is the penultimate Hitchcock film, the great masterpiece by a director reknowned for masterpieces. A personal favorite, and very highly recommended.

Vertigo would probably not make my list of the top five Hitchcock movies, but not because it is not five stars. It is every bit of that and then some. It's just that I like some others a little more. This may be Sir Alfred's most complex and deep movie ever. Unlike North by Northwest, which came out the year after Vertigo and was very much a fast paced action film without a lot of thinking involved, Vertigo takes place almost exclusively in the characters' minds. Until you realize that, the movie can seem slow and dull. Once you see how Jimmy Stewart is manipulated, you understand the horror of Vertigo.

Stewart plays Scottie, a former detective who had to quit because he lost a partner in an unfortunate fall from a roof. Scottie developed a fear of heights from this accident and has vertigo when he climbs even a little ladder. This renders him almost useless in the field of detective work.

A former friend named Gavin, knowing Scottie is out of work, hires him to trail his wife (Kim Novak). Gavin thinks his wife is crazy, that she believes she is someone who died many years ago. Scottie reluctantly takes the job and begins following the woman to report to Gavin how she spends her afternoons. It is strange what she does.

What I have done is just set the physical scene. But believe me, the real story is ahead. There is tragedy in the movie, along with a complete switch of characters. Eventually the watcher learns what has happened to the characters in the movie, but the way Stewart is cruelly manipulated throughout is tragic. I would rather not give away what is really going on. I would only encourage you to give the film at least two viewings to try to catch the whole story

This has been called Hitchcock's most personal film. It is certainly the most emotional of his work, showing the heartbreak that comes with true love being ripped away in an incredibly cruel manner. It took me several viewings to really grasp what this movie was about. I have loved it since.

By the way, the top 5 Hitchcock movies in my opinion:
1) Notorious
2) North by Northwest
3) Psycho
4) Rear Window
5) Strangers on a Train

To say that VERTIGO is merely good is an understatement of the first order. It is arguably the crowning achievement of Alfred Hitchcock's career and indisputably the greatest example of pure emotion expressed in cinematic form from among his fifty three films.

A basic overview of the story: Scottie (Jame Stewart), a retired detective, is hired to investigate the daily routines of Madeleine (Kim Novak), a former collegemate's wife. Madeleine, according to her husband, is haunted and possessed by the vengeful spirit of her suicidal grandmother. As he follows her around varying locales of San Francisco, Scottie becomes evermore intrigued by her strange behavior. Soon he finds himself rescuing her from the waters below Golden Gate bridge in what was an apparent suicide attempt. Things quickly get complicated.

Although there are several well-executed plot twists, they are not there as the main focus of the film. Rather, like the cinematography, acting, and wonderful score by Bernard Herrmann, they serve to establish the raw emotions of Scottie onscreen. These elements work in perfect harmony to convey the growing, and ultimately tragic, obsessiveness that consumes him. This obsession becomes almost tangible in the way that it enthralls the viewer as well. We are privy to the mental state of Scottie, and like him, we are drawn in, not by the Madeleine he knows, but by the Madeleine that is constructed in the images and sounds of cinematic perfection.

I give VERTIGO my highest recommendation. The extras on this DVD are very good as well, and simply icing on an already delicious cake.

Alfred Hitchcock's 1959 classic, NORTH BY NORTHWEST, ranks right up there as one of my favorites of his movies. The film, uses one of the director's favorite themes, the main character wrongly accused and fighting to clear his name...Roger Thornhill (Cary Grant) is a New York Ad Executive, who soon finds himself framed for murder and on the run. Thornhill is being persued by a spy, Philip Vandamm (James Mason), and is captivated by a beautiful woman, Eve (Eva Marie Saint). The film contains two of the most memorable sequences ever seen on the big screen. The "crop duster chase" and the "climax on Mount Rushmore" have been copied but never truly duplicated. These scenes are benchmarks of the film, to be sure, but it is the unassuming acting of Grant, Saint, and Mason that make it work. The script by Ernest Lehman is filled with suspense and wit that makes this film True Hitchcock. Once again composer Benard Herrmann provides a momorable film score that puts "the icing on the cake".

The DVD has a retrospective documentary hosted by Saint, featuring rare footage and interviews with surviving cast and crew members. It also has an audio commentary with recollections from Lehman. This track can be rather "talkie" at times, but is great to have, just the same. Additional features include a music only track, remastered 5.1 sound, theatrical trailers, and a photo gallery. All in all, this is another great Hitchcock classic, on DVD. Highly Recommended as one of Hitchcock's best thrillers

North by Northwest is one of my all-time favorite movies. From start to finish, NxNW is a roller-coaster ride you'll want to watch again and again. It is thrilling, exciting and at times totally hilarious. Essentially, it's about Roger O. Thornhill, a confident and charming advertising executive, who is mistaken for a government agent and is consequently chased across the country. He is set on the road drunk, forced to hide in train compartments, crop-dusted (a classic sequence), trapped in auction, and finally chased across Mount Rushmore. Movies don't get any better than this.

As for the cast, it is excellent! Cary Grant gives a perfect performance as Roger O. Thornhill - and he is hilarious and charming, as ever! Eva Marie Saint is also very good, as the mysterious and glamorous girl Cary meets on the train. James Mason does a wonderful job playing the debonair but evil villian.

Directed by Hitchcock, this is a great comedy/thriller - in my opinion, it is Hitchcock's best movie! Additionally, it is a good idea to get the DVD, because the movie is astonishingly sharp and clear and there are plenty of special features. 100% worth your money! If you haven't seen this, by all means do, and if you have, get a DVD you can watch again and again!

Mr Hitchcock made this film ACCIDENTALLY. He was supposed to make a film version of The Wreck of the Mary Deare but his writer Ernest Lehman had a form of WRITER's BLOCK but, thankfully, had some ideas about a "chase movie". All is revealed in the excellent additional material and documentary on the making of the film narrated by Ms Saint. It may be one of those instances of how the artist (Mr Hitchcock) uses the system (Hollywood producers) to get his way, and run way over budget, and still bring home the bacon with a work of cinematic wonder. A must have DVD.