Alfred-Hitchcock Movie Reviews

This Video is a collection of two of episodes of Alfred Hitchcock Presents, The Chaney Vase and The Sorcerer's Apprentice. The First Episode is about an employee at a Bank, played by Darren McGavin. When things at the bank turn troublesome McGavin's character seeks employment with one of the Bank's wealthy patrons in an attempt to get her most prized possession, the Chaney Vase. I will not spoil the ending, but this one is vintage Hitchcock. The Next Episode, the Sorcerer's Apprentice, is about a mentally challenged young lad, played by Brandon DeWilde who meets up with the magician from a travelling circus, but things get quite interesting when the Magician's wife gets the young boy confused about her husband. It is a great story, and the ending is absolutely bone chilling. Be advised, however, I have this edition and the picture is not digitally restored, and thus a little worn. The picture is actually better than most of Hitch's old British films, and the stories more than make up for it. This video is a must have for any die hard Hitchcock fan.

Sorcerer's Apprentice is the ONLY EPISODE DENIED A NETWORK BROADCAST!
Hear the Music, Gounod's FUNERAL MARCH OF A MARIONETTE. Now the portly silhouette steps into his famous profile sketch. ah, but never done on network. only in syndication.

This is not a Hitchcock film I had heard much about before it came on T.V. but I found it surprisingly good. There are moments of classic Hitchcockian suspense, (Marnie's shoe falls from her pocket but does not disturb the deaf janitor), and also a well executed character study. The troubled Marnie is well played by Tippi Hedren, one of the more under-appreciated actresses of her generation, while Sean Connery and Diane Baker are excellent in support as Marnie's concerned employer and husband, and the woman in love with him.
I found the movie lost some of its well built of tension towards the end, as everyone got a little screechy and weepy, but overall it was an excellent, unexpected treasure.

Marnie is one of Hitchcock's greatest ( and most underrated) films of all time. Even though it was dismissed by critics and such at the time of of it's release it has since come to be considered one of Hitchcock's great films. It is obvious that this film went over many peoples heads therefore leading to harsh (and quite unfair) criticisms. It is the same with the performance of Tippi Hedren as Marnie. Even though her performancce is brilliant many dense people criticize her for it. I am aware that people tend to be unfair about the sets of the film as well. The film often shows things the way that Marnie herself sees them. Alfred Hitchcock obviously wanted the sets to look the way they do though. Sean Connery (in an excellent performance) also stars as Mark Ruttland ,Marnie's obsessed, and concerned lover. Another misconception about this film is that of Sean Connery's character. I have seen people refer to him as a "jerk" and such but that is really not the case. If you intelligently watch this film it is not hard to see that he truly cares about Marnie and that he does really want what is best for her. Even though he does have faults of his own he is certainly not a hard hearted and cruel person. Even though Marnie does not get half the credit that it deserves from some it is still an exellent movie well worth watching. I hope that you enjoy it as much as I do.

It's always interesting and go back for another look, as one does with all great works. Memory plays tricks. And we all bring something of ourselves to the work. Having been a thief in my time I was struck with this film the first time I saw it many moons ago. Let me assure you, Mr Hitchcock knows the mind of a thief. I've seen this film a number of times and it has continued to grow in affection and stature as an excellent instance of his very best work. The support material, on the making of the film, its casting, how Hitch directs his actors, its genesis, actor's comments, are very informative and in the case of Ms Baker and Ms Latham, quite rivetting. Mr Bernard Hermann of course has a field day, as does Mr Freud. To call this work "cheesie" is a serious misrepresentation of one of Hollywood's finest efforts. A gem.

This is not a Hitchcock film I had heard much about before it came on T.V. but I found it surprisingly good. There are moments of classic Hitchcockian suspense, (Marnie's shoe falls from her pocket but does not disturb the deaf janitor), and also a well executed character study. The troubled Marnie is well played by Tippi Hedren, one of the more under-appreciated actresses of her generation, while Sean Connery and Diane Baker are excellent in support as Marnie's concerned employer and husband, and the woman in love with him.
I found the movie lost some of its well built of tension towards the end, as everyone got a little screechy and weepy, but overall it was an excellent, unexpected treasure.

Marnie is one of Hitchcock's greatest ( and most underrated) films of all time. Even though it was dismissed by critics and such at the time of of it's release it has since come to be considered one of Hitchcock's great films. It is obvious that this film went over many peoples heads therefore leading to harsh (and quite unfair) criticisms. It is the same with the performance of Tippi Hedren as Marnie. Even though her performancce is brilliant many dense people criticize her for it. I am aware that people tend to be unfair about the sets of the film as well. The film often shows things the way that Marnie herself sees them. Alfred Hitchcock obviously wanted the sets to look the way they do though. Sean Connery (in an excellent performance) also stars as Mark Ruttland ,Marnie's obsessed, and concerned lover. Another misconception about this film is that of Sean Connery's character. I have seen people refer to him as a "jerk" and such but that is really not the case. If you intelligently watch this film it is not hard to see that he truly cares about Marnie and that he does really want what is best for her. Even though he does have faults of his own he is certainly not a hard hearted and cruel person. Even though Marnie does not get half the credit that it deserves from some it is still an exellent movie well worth watching. I hope that you enjoy it as much as I do.

It's always interesting and go back for another look, as one does with all great works. Memory plays tricks. And we all bring something of ourselves to the work. Having been a thief in my time I was struck with this film the first time I saw it many moons ago. Let me assure you, Mr Hitchcock knows the mind of a thief. I've seen this film a number of times and it has continued to grow in affection and stature as an excellent instance of his very best work. The support material, on the making of the film, its casting, how Hitch directs his actors, its genesis, actor's comments, are very informative and in the case of Ms Baker and Ms Latham, quite rivetting. Mr Bernard Hermann of course has a field day, as does Mr Freud. To call this work "cheesie" is a serious misrepresentation of one of Hollywood's finest efforts. A gem.

They don't make 'em like this anymore. Just as well, we wouldn't make head nor tail of it. He took that key instead of the other key which didn't fit that door so he took that key from the bag and changed it with the key from under the step and then that key wouldn't fit the lock so he changed it for the key in the coat- sheesh! Doesn't answer why I can never find my own bloody keys. I could murder a pint. Anyway, nothing beats Ingrid Bergman in 'Gaslight': "Knife, what knife? You want me to put down the knife? But there is no knife. I am mad, you see, that's it, quite MAD!" Wouldn't work the same with a key in her hand. Which wasn't in anycase the key to the attic where everynight he....etc.

Alfred Hitchcock's 1954 Dial M For Murder, ended up as an "also ran" to the more popular Rear Window, released that same year. Another problem was that it was decided to add some 3-D elements to it, as a way to entice folks into the theater. 3-D was all the rage back then, but in the end, this only proved to be a distraction, rather than an enhancement. I think Dial M is a better film than most people think it is, especially when looked at outside of the Rear Window and 3-D factors.

Tony Windice (Ray Milland) hatches a plan to have his lovely wife Margot (The ever lovely Grace Kelly) murdered. It seems that she has been having an affair with a writer friend of theirs, named Mark (Robert Cummings) Tony's plan involves a casual school mate of his (Anthony Dawson) carrying out the deadly deed, while Tony has a solid alibi. When the plan is complicated by an unepected turn, Chief Inspector Hubbard (John Williams) is sure there's more going on here then meets the eye.

Based on Frederick Knott's play, Hitchcock keeps that "stage" mood going by not stretching too far beyond the main set. At first, this may seem very limiting but I think it only hieghtens the tension. Hitchcock is quite good at staging scenes in a confined space, as the aforementioned Rear Window and a few of his other films like Rope and The Trouble With Harry, demonstrate. Milland is devishly suave as Tony. Kelly is great as always, but really shines as a woman conflicted. The film has a problem with its pace at times, getting booged down with a dialogue heavy scene, now and then, but it's not as bad as some have suggested. People often compare the film to its updated and greatly expanded remake, A Perfect Murder, that's like comparing apples and oranges. It's not neccessary in my opinion. Both can stand alone and have their own strengths and weaknesses.

Dial M For Murder, is one of the only Hitchcock films left, not to get a DVD release. Ok, so it's not his best work, but as we approach a landmark anniversary for the film, this situation deserves to be rectified soon. It's gotten a bum rap for too long now.

Ray Milland pulls off another flawless performance as the jealous husband determined to have his cheating young wife Grace Kelly murdered. The aging former tennis star who lives mainly off his wife's wealth. When he learns of her infidelity with an American acquintance, Milland's adoration for the beautiful Kelly becomes nothing more than a strained pretence, all-the-while planning how he can get rid of her, then live happily ever after off her money.

A man Milland barely rememebered from college has a few dark secrets, which Milland uses to blackmail him into the meticulously planned "perfect crime" of murdering Kelly. A clever (although typical) "Hitchcock-Twist" makes for a thrilling change to an unexpected "Plan B".

Not as well known as similar Hitchcock films, this one is no less of a gem. Although the story and handling, particularly the dull-British "Scotland Yard" dialog are definitely from another era, the unfolding plot is sheer Hollywood candy. The final scene is priceless. A sure hit for those who love "whodunits" as well as for fans of the Master. A 5-star-classic!*****

THE BIRDS, is another classic from "The Master Of Suspense", director Alfred Hitchcock....In pursuit of an eligible bachelor, Melanie Daniels ("Tippi" Hedren) makes her way to Bodega Bay. You see, she has learned that Mitch Brenner, (Rod Taylor) lives there. After a chance encounter on the mainland, she decides to find him so that they can get to know one another better. However, upon her arrival to the town by the sea, she is attacked by a seagull for no reason. At first, the town's citizens dismiss her story, but as more and more folks are attacked, the community is put under seige from thousands of birds.

The film is loosely based upon a short story by Daphne Du Maurier. While the film may not have the perfect setup, the middle and end of the movie, are quite memorable. Sure, the F/X are not as good by today's standards, but the underlying fear created in the film still remains pretty much intact. The attack scene that stands out for is the one that involves a vehicle, leaking gas, a live wire, and of course an attacking flock of birds. Hitchcock staged the scene with great timing and top notch film editing in mind. The supporting cast is memorable as well. It includes Jessica Tandy, Suzanne Pleshette, and a very young Veronica Cartwright (from Ridley Scott's 1979 film ALIEN) as Cathy.

The "Collector's Edition DVD has some great extras on it. There is an outstanding retrospectuive documentary with cast/crew interviews. This feature runs for over an hour and will give you complete insight into how the film was made. There is also a wealth of archival footage from the film's initial theatrical release. While it's no PSYCHO, THE BIRDS ranks up there as another classic from Hitchcock. So with great extras, this disc is highly recommended, both for fans of Hitchcock and the film

Spoiled socialite and notorious practical joker Melanie Daniels (Tippi Hedren) is shopping in a San Francisco pet store when she meets Mitch Brenner (Rod Taylor). Mitch is looking to buy a pair of love birds for his young sister's birthday. He recognizes Melanie but pretends to mistake her for an assistant. She decides to buy the birds and drive up to the quiet coastal town of Bodega Bay, where Mitch spends his weekends with his sister and mother. Shortly after she arrives, Melanie is attacked by a gull. This is just the start of a series of attacks by an increasing number of birds. The film has several attacks in which adults and school children are ravaged and the air assaults are frightening to watch. The dangerous birds' unexplained sheer destructive force is displayed in the attack in a bedroom where the unfortunate Ms. Daniels is trapped, and their determination to destroy every human in their path is awful to behold.

As long as I can remember, I've always heard people brag about how good of a movie "The Birds" was. I finally got to see it on television and I agree with everything I had ever heard about it. It is a great, classic horror movie. Melanie Daniels (Tippi Hedren) is on a short trip from San Francisco to Bodega Bay, California in order to deliver a couple of lovebirds to Mitch Brenner (Rod Taylor), for his younger sister's birthday. All the while, Melanie, Rod, and the others are noticing some strange behavior in some local birds, especially the seagulls and the crows. Once a huge number of birds flock into Mitch's house, and then later attack a school, Melanie and the rest of the people must do something to protect themselves from the birds.

If you like great horror movies, I definitely recommend getting "The Birds." Don't think that just because it was made in 1963 that it's not a good horror movie, because it is, it's a classic from Alfred Hitchcock. Hitchcock definitely did a good job directing the movie, and everybody in the movie did a good job of acting. All the horror scenes, especially the one where the birds are almost pecking through the wooden door and the major attack on Melanie at the end of the movie are well done.

THE BIRDS, is another classic from "The Master Of Suspense", director Alfred Hitchcock....In pursuit of an eligible bachelor, Melanie Daniels ("Tippi" Hedren) makes her way to Bodega Bay. You see, she has learned that Mitch Brenner, (Rod Taylor) lives there. After a chance encounter on the mainland, she decides to find him so that they can get to know one another better. However, upon her arrival to the town by the sea, she is attacked by a seagull for no reason. At first, the town's citizens dismiss her story, but as more and more folks are attacked, the community is put under seige from thousands of birds.

The film is loosely based upon a short story by Daphne Du Maurier. While the film may not have the perfect setup, the middle and end of the movie, are quite memorable. Sure, the F/X are not as good by today's standards, but the underlying fear created in the film still remains pretty much intact. The attack scene that stands out for is the one that involves a vehicle, leaking gas, a live wire, and of course an attacking flock of birds. Hitchcock staged the scene with great timing and top notch film editing in mind. The supporting cast is memorable as well. It includes Jessica Tandy, Suzanne Pleshette, and a very young Veronica Cartwright (from Ridley Scott's 1979 film ALIEN) as Cathy.

The "Collector's Edition DVD has some great extras on it. There is an outstanding retrospectuive documentary with cast/crew interviews. This feature runs for over an hour and will give you complete insight into how the film was made. There is also a wealth of archival footage from the film's initial theatrical release. While it's no PSYCHO, THE BIRDS ranks up there as another classic from Hitchcock. So with great extras, this disc is highly recommended, both for fans of Hitchcock and the film

Spoiled socialite and notorious practical joker Melanie Daniels (Tippi Hedren) is shopping in a San Francisco pet store when she meets Mitch Brenner (Rod Taylor). Mitch is looking to buy a pair of love birds for his young sister's birthday. He recognizes Melanie but pretends to mistake her for an assistant. She decides to buy the birds and drive up to the quiet coastal town of Bodega Bay, where Mitch spends his weekends with his sister and mother. Shortly after she arrives, Melanie is attacked by a gull. This is just the start of a series of attacks by an increasing number of birds. The film has several attacks in which adults and school children are ravaged and the air assaults are frightening to watch. The dangerous birds' unexplained sheer destructive force is displayed in the attack in a bedroom where the unfortunate Ms. Daniels is trapped, and their determination to destroy every human in their path is awful to behold.

As long as I can remember, I've always heard people brag about how good of a movie "The Birds" was. I finally got to see it on television and I agree with everything I had ever heard about it. It is a great, classic horror movie. Melanie Daniels (Tippi Hedren) is on a short trip from San Francisco to Bodega Bay, California in order to deliver a couple of lovebirds to Mitch Brenner (Rod Taylor), for his younger sister's birthday. All the while, Melanie, Rod, and the others are noticing some strange behavior in some local birds, especially the seagulls and the crows. Once a huge number of birds flock into Mitch's house, and then later attack a school, Melanie and the rest of the people must do something to protect themselves from the birds.

If you like great horror movies, I definitely recommend getting "The Birds." Don't think that just because it was made in 1963 that it's not a good horror movie, because it is, it's a classic from Alfred Hitchcock. Hitchcock definitely did a good job directing the movie, and everybody in the movie did a good job of acting. All the horror scenes, especially the one where the birds are almost pecking through the wooden door and the major attack on Melanie at the end of the movie are well done.

Typical Hitchcock style - an innocent man framed for murder with all the evidence against him and now he has to prove his innocence, even if he has to bend the law by escaping from the gaol. This formula made famous by Hitchcock would be copied countless times and made into numerous movies since this...

This is an all British cast completely devoid of any Hollywood bigwigs who were ruling the roost at that time. This being made during the later years of his movie-making life (his penultimate film actually), Hitchcock also induced small amounts of nudity into this movie which of course blends well into the script and doesn't feel out of place. The fact that body doubles were used was clearly evident though. The parallel plot in the movie where Detective Oxford is being constantly tortured by his wife serving him delicacies like 'baked pig foot' was quite humorous.

The DVD as usual like all the other Hitchcock movies in the series 'The Alfred Hitchcock Collection' has a documentary on the making of Frenzy and interviews with the surviving cast and support crew. I usually don't see much of the DVD extras but the ones in any Hitchcock DVD is a must since it fills in all the cracks and very informative too.

All-in-all, an entertaining movie, quite out of the league of his earlier movies like 'The Man Who Knew Too Much' or 'North By Northwest', wherein while they all relied on suspense and storylines based on espionage in the times of the Cold War, as times changed, Mr. H did too by making the central thread of Frenzy rely mostly on brutal criminal behavior than anything else.

Hitchcock had been in a bit of an artistic slump when, after some thirty years, he returned to England for this, his next to last film--and the result was his final masterpiece.

Scripted with ghoulish humor by Anthony Schaffer, FRENZY opens with a ceremony on the banks of the Thames in which Londoners inagurate legislation to rid the river of pollutants... only to have the corpse of a naked woman wash ashore in the midst of their celebrations. She has been strangled with a tie--the latest victim of a serial killer who savagely rapes and then murders his victims by twisting his necktie around their throats. With the city in a panic and Scotland Yard desperate to catch the killer, suspicion falls on a down-on-his-luck bartender named Richard Blaney. Trouble is, he isn't the killer.

In a sense, FRENZY has a strangely Dickensian flavor. It is a film that by and large seems to happen in public places: pubs, parks, offices, hotels, and most particularly Covent Garden with its constant hustle and bustle that serves to conceal horrors that occur inches away from the safety of the crowds. Indeed, the city seems almost a "master character" in the film, constantly pressing in upon the humans that inhabit it. Fans of the British comedy series "Keeping Up Appearances" will recognize Clive Swift in a minor role, but for the most part the cast consists of unknowns--but while they lack name recognition they certainly do not lack for talent, playing with a realism that seems completely unstudied. Leading man Jon Finch (Richard Blaney) is perfectly cast as the attractive but disreputable suspect on the run, and he is equaled by his chum Barry Foster (Robert Rusk.) A special mention must also be made of the two female leads, Anna Massey and Barbara Leigh-Hunt--not to mention the host of supporting characters who bring the entire panorama of the great city to life.

In his earlier films, Hitchcock generally preferred to work by inference, implying danger and violence rather than openly showing it on the screen. PSYCHO broke the mold, and with FRENZY Hitchcock presents a sequence that many believe equals the notorious "shower scene:" a horrific rape and slow strangulation that leaves the viewer simply stunned. But having given us this horror, Hitchcock ups it with a scene in which we see no violence at all: just a camera shot that glides away from an apartment door, down the stairs, through the hall, and out into the busy street... as we shudder with the knowledge that the woman who just entered that apartment door is now being horrifically raped and murdered.

Hitchcock made one more film, a comic wink with twists of suspense starring Karen Black, Bruce Dern, and Barbara Harris called FAMILY PLOT--and it is an enjoyable film in its own right. But it is FRENZY that is the final jewel in the Hitchcock crown, a film to rank among his best. The DVD presentation includes a number of extras--including numerous interviews with the cast--that Hitchcock fans will find fascinating. All in all, FRENZY is fearsome, wickedly funny, and strongly recommended... but not for the faint of heart!

--GFT (Amazon.com Review)--

FRENZY, Hitchcock's penultimate film, was a critical and commercial success on its 1972 release, but has never become legendary the way PSYCHO, VERTIGO, or THE BIRDS have. This is partially because Hitchcock uses no glamorous movie stars here - the performers are all London stage veterans, not Hollywood personalities - and partially because this is a very unpleasant and disturbing work that leaves the viewer feeling rather stained and dirty afterwards. In FRENZY, Hitchcock culminates a lifetime of obsession with the figure of the unjustly accused man AND the rape-murder of a blonde woman. The film is the story of Dick Blaney (J. Finch), who is imprisoned as London's "Necktie Murderer" after both his ex-wife and his girlfriend are found dead. Blaney knows that the real murderer is his "friend," grocer Bob Rusk, and he breaks out of prison to catch and kill Rusk. He is prevented from doing so only by Inspector Oxford of Scotland Yard, who, unbeknownst to Blaney, has been on the trail of the real killer for some time. FRENZY disturbs because the "wrongly accused man," is a far from sympathetic character. Blaney is crude, violent and selfish, and is certainly capable of murder (hence his former profession as a soldier), and indeed, we see him sink to the level of Bob Rusk at the end of the film. On the other hand, the actual killer, like PSYCHO'S Norman Bates, seems like a calm, generous man who "loves flowers and fruit," and "has things to give," but who is actually a volcano of rage and hate. These complex characterizations leave the viewer in an uneasy frame of mind, as we are forced to identify with characters who are morally ambiguous, to say the least! The film's treatment of women is also horrifying. The rape-murder of Brenda Blaney (B. Leigh-Hunt) is the single longest scene in the film, and is indeed drawn out to a near-excruciating length. The camera dwells on the sight of Brenda's violation and strangling with an unbearable explicitness. Brenda wears a pale green sheath similar to Melanie's dress in THE BIRDS, and it seems that Hitchcock symbolically extinguished the figure of the chilly blonde who preoccupied him for so long. Also, FRENZY makes a constant connection between women, food, sex and pollution that is in fact quite repugnant. Despite all of this, FRENZY fascinates because it is so well-made, so elegantly directed, and so humourous. Our emotions are quite spectacularly manipulated by this film - you will find yourself cringing in revulsion one moment and laughing out loud the next, and this strange dichotomy makes for a - to say the least - unique viewing experience. A violent, funny and quite profound film that rewards repeated viewings, if you have the guts for it.

Some may argue there is nothing witty about murder, which you see in this film in the first few minutes committed by two elegantly dressed and well groomed handsome men on another elegantly dressed and handsome man in a well appointed apartment with a magnificent view of the city. Moreover, these two dandies just have to SEE if they can commit the perfect murder. In some ways the film is not just a meditation on good and evil, and at heart, the ethics of killing another human being, but also considers the recreation activities of those who have "everything". When one has every material advantage, the biggest house, the most exprensive car, a lover, drugs (presumably) what now for fun? And what if you are among the most intelligent and well educated individual on earth, doesn't that make you better than others and give you the right to make decisions over others lives? Especially the stupid, the unattractive, the lazy, the disabled - from here isn't it a small step to those of a different race, different culture? ROPE may be an allegory too for all those suited Foreign Affairs experts in their suits making recommendations about which country to bomb next. Then again it may just be another elegant transformation of a theatre piece to titillate the jaded appetite of those satiated by too much drawing room comedy. Richly photographed in colour, with outstanding actors. Worth owning.

"Rope" - - an Alfred Hitchcock film with a unique style and plotline, with unusual yet effective cinematography and some of the best actors to play the leading roles. Adapted from a theatre piece, the one-set, appox. 80 minute long movie was simply ahead of its time. The premise is as follows: Two men strangle a fellow classmate for intellectual thrills, and continue to flaunt their macabre working at a dinner party held after the murder. The party is made up of the dead man's friends and family, the maid, and the dead man's former teacher. While one of the murderers is daring and proud, dropping subtle hints to the partygoers of what was actually happening, the other becomes more and more nervous as the deceased's teacher becomes ever-so-close to discovering the horrible truth, and the fact that the chest that the body is stuffed in is the very buffet table they all had been eating off of. Based on the Leopold/Loeb murder case, "Rope" is a probing psychological thriller. May not be a "Scream" or "I Know What You Did Last Summer", but it is definately a nail-biter that ranks with some of Hitchcock's best.

Based on an actual murder case and directed by legendary director Alfred Hitchcock, Rope tells the story of two very close, well to do roommates Phillip and Brandon who strangle David, an old school chum, just for kicks. To further increase the exhilaration of their dastardly deed, the duo deem it delicious to desecrate the dead by placing his body into a chest and serving their dinner party guests a banquet on its decorated top. The guests of honor at this most perverse soirée include their former prep school professor Rupert Cadell (James Stewart), the murder victim's parents, his fiancé, and her former boyfriend. This tapestry provides tension for Phillip as he is nervous about being caught and questions abound as to David's whereabouts. Interestingly, Brandon feels smug even justified as he views the act of murder to be relegated to a select superior few.

Rope explores Nietzsche's concept of the "übermensch" or "superman" in which society's people are divided into two groups. Those who believe in the concepts of right and wrong and behave accordingly are deemed inferior beings and therefore unnecessary. While those who are enlightened enough to realize that one is free to act according to their own volition because there are no such primitive or external constraints on behavior are deemed superior. In this worldview, homicide is justifiable because the intellectually superior are actually bettering society by eliminating the inferior and their drain on its resources. The story comes to a head when Professor Cadell who taught Phillip and Brandon these nihilistic concepts begins to suspect that they practiced what he preached by killing David.

Rope was shot with eight; 10-minute reels to give the illusion of one seamless, continuous take. This forces the viewer to pay attention to every word and provides an eerie feeling that he/she is a witness to the murder and is a guest at the dinner party. What also drives the film is its witty if not macabre dialogue that is punctuated with puns, innuendoes and double entendre. It is also interesting to watch the professor engage Phillip and Brandon in the proverbial game of cat and mouse. Likewise, the characters are richly developed and deep.

Rope is Hitchcock's most underrated and unappreciated film. Which is a shame because I believe Rope poses some very provocative questions. Is there sanctity to human life? Are all human beings equal? Is murder ever justifiable? Is there right and wrong? Is moral absolutism an outmoded idea in which only the weak and dumb subscribe? Is a teacher responsible for his/her students' actions? Ultimately, the viewer must decide.

Some may argue there is nothing witty about murder, which you see in this film in the first few minutes committed by two elegantly dressed and well groomed handsome men on another elegantly dressed and handsome man in a well appointed apartment with a magnificent view of the city. Moreover, these two dandies just have to SEE if they can commit the perfect murder. In some ways the film is not just a meditation on good and evil, and at heart, the ethics of killing another human being, but also considers the recreation activities of those who have "everything". When one has every material advantage, the biggest house, the most exprensive car, a lover, drugs (presumably) what now for fun? And what if you are among the most intelligent and well educated individual on earth, doesn't that make you better than others and give you the right to make decisions over others lives? Especially the stupid, the unattractive, the lazy, the disabled - from here isn't it a small step to those of a different race, different culture? ROPE may be an allegory too for all those suited Foreign Affairs experts in their suits making recommendations about which country to bomb next. Then again it may just be another elegant transformation of a theatre piece to titillate the jaded appetite of those satiated by too much drawing room comedy. Richly photographed in colour, with outstanding actors. Worth owning.

"Rope" - - an Alfred Hitchcock film with a unique style and plotline, with unusual yet effective cinematography and some of the best actors to play the leading roles. Adapted from a theatre piece, the one-set, appox. 80 minute long movie was simply ahead of its time. The premise is as follows: Two men strangle a fellow classmate for intellectual thrills, and continue to flaunt their macabre working at a dinner party held after the murder. The party is made up of the dead man's friends and family, the maid, and the dead man's former teacher. While one of the murderers is daring and proud, dropping subtle hints to the partygoers of what was actually happening, the other becomes more and more nervous as the deceased's teacher becomes ever-so-close to discovering the horrible truth, and the fact that the chest that the body is stuffed in is the very buffet table they all had been eating off of. Based on the Leopold/Loeb murder case, "Rope" is a probing psychological thriller. May not be a "Scream" or "I Know What You Did Last Summer", but it is definately a nail-biter that ranks with some of Hitchcock's best.

Based on an actual murder case and directed by legendary director Alfred Hitchcock, Rope tells the story of two very close, well to do roommates Phillip and Brandon who strangle David, an old school chum, just for kicks. To further increase the exhilaration of their dastardly deed, the duo deem it delicious to desecrate the dead by placing his body into a chest and serving their dinner party guests a banquet on its decorated top. The guests of honor at this most perverse soirée include their former prep school professor Rupert Cadell (James Stewart), the murder victim's parents, his fiancé, and her former boyfriend. This tapestry provides tension for Phillip as he is nervous about being caught and questions abound as to David's whereabouts. Interestingly, Brandon feels smug even justified as he views the act of murder to be relegated to a select superior few.

Rope explores Nietzsche's concept of the "übermensch" or "superman" in which society's people are divided into two groups. Those who believe in the concepts of right and wrong and behave accordingly are deemed inferior beings and therefore unnecessary. While those who are enlightened enough to realize that one is free to act according to their own volition because there are no such primitive or external constraints on behavior are deemed superior. In this worldview, homicide is justifiable because the intellectually superior are actually bettering society by eliminating the inferior and their drain on its resources. The story comes to a head when Professor Cadell who taught Phillip and Brandon these nihilistic concepts begins to suspect that they practiced what he preached by killing David.

Rope was shot with eight; 10-minute reels to give the illusion of one seamless, continuous take. This forces the viewer to pay attention to every word and provides an eerie feeling that he/she is a witness to the murder and is a guest at the dinner party. What also drives the film is its witty if not macabre dialogue that is punctuated with puns, innuendoes and double entendre. It is also interesting to watch the professor engage Phillip and Brandon in the proverbial game of cat and mouse. Likewise, the characters are richly developed and deep.

Rope is Hitchcock's most underrated and unappreciated film. Which is a shame because I believe Rope poses some very provocative questions. Is there sanctity to human life? Are all human beings equal? Is murder ever justifiable? Is there right and wrong? Is moral absolutism an outmoded idea in which only the weak and dumb subscribe? Is a teacher responsible for his/her students' actions? Ultimately, the viewer must decide.

....I'm not going to. It's been done to death and I'd rather talk about the film's atmospheric cinematography that is vintage Hitchcock. Perhaps more than any other film he directed this one captures the essence of discomfort and suspense so vital to the psychoanalysis theme of the film. Note the lingering low-angle on the shot of Gregory Peck's razor (and the way it is lit) or his psychotic stare at John Emery (shot through a drinking glass, for goodness sakes!), of course making us all fear he's going to be stabbed. Or the important climatic skiing scene which finally explains why Dr. Peck is so nervous around lines, tracks, and slopes. (It's a relatively short flashback that I won't reveal, but a disturbing, horrible sight just the same.) Finally, the scene with Leo Carroll, Ingrid Bergman, and a freakishly large, distorted gun is spellbindi...really impressive. Can you imagine the screams from the original 1945 audience when this gun came on-screen?!! The *two* frames (on video, anyway) of red which integrate with the gunshot is a stunning piece of subliminal cinematography. (BTW, is it just me, or do the gorgeous Ms. Bergman and future Hitchcock alum Grace Kelly bear a striking resemblance to each other?!!)

This review refers to the Anchor Bay release of the "Spellbound" DVD....

Anchor Bay has done it again. This 1945 classic directed by Alfred Hitchcock, was beautifully transfered onto this DVD. The black and white images are sharp, crisp, and clear. Barely a sign of this film's age. The sound remastered in Dolby Dig 2.0 is great. If you're a fan of this film, you'll be thrilled at how good it looks.

Haven't seen it yet, but love Hitch, or maybe it's been a while since you have?....Here's a little of this riveting story.....
The beautiful Ingrid Bergman plays the distant psychiatrist Dr. Constance Petersen. She treats a number of troubled patients at the Green Manors Mental Asylum, but her toughest case is yet to come. With Dr. Murchison(Leo G Carroll) being forced into retirement a new chief of staff will be arriving. It is the esteemed Dr Edwards(Gregory Peck)who takes over. It is not long before Edwards and Constance find themselves attracted to one another, and it is not long before Constance figures out that Edwards is not really who he says he is. He displays signs of paranoia and amnesia and it is possible that he murdered the real Dr. Edwards.They are on the run to try to solve the case but as the original theatrical poster says,"Will he Kiss me or Kill me?"(The DVD comes with a mini version of this poster).

You'll be awed Hitch's definitive style of camera angles, shadow and lights, romance and a unique dream sequence designed by Salavdor Dali. Not to mention all the wonderful talent that graces this film. Bergman and Peck make screen magic together, Carroll is a legend and this film shows us why.Also starring is Rhonda Flemming,Michael Chekhov, and Wallace Ford. The music by Miklos Rozsa also adds greatly to the building tension, and romantic scenes in the story.

Looking for Hitch: About :40 minutes in, you may see him if you're quick!

It never ceases to amaze me that we are lucky enough to be able to see these great classics as they were first seen and with the added treat of the origianl theatrical Overture.(I will be adding this one to my listmania of "Old Movies That Look Great on DVD") Now, if you are looking for special features, this DVD does not have any, there is another version by Criterion that offers more in the way of extras,although quite a bit more expensive.(Criterion also does great transfers)Which ever you choose, this a a must have for fans of Hitch, Bergman or Peck.

So don't worry about trying to over anaylze this one....As Hitch himself said "It's just a movie." But a GREAT one! So enjoy!......

Psychoanalysis is the framework of this thriller by the Master of Suspense. At Green Manors psychiatric clinic, Dr. Constance Petersen tries to help a man suffering from amnesia who claims he has killed Dr. Edwardes, the intended new director of the clinic. Petersen is charmed by this handsome man, whose initials might be J.B., and believing his innocence, even follows him to the Empire State Hotel in NY.

This is quite a change from how a colleague, Dr. Fleurot describes her. He says she's brilliant but lifeless, approaching her problems "with an icepack on your head." However, he does have a very astute line on kissing her, "it's rather like kissing a textbook." Indeed, Petersen's initial view on love is cold and clinical, typical of a scientist. She says love is a "response to hair colouring or vocal tones, or mannerisms that remind us of parents." And "people read about love as one thing and experience it as another." Hence they get psychoanalyzed.

Amnesia is described by JB as "a trick of the mind for remaining sane. You remain sane by forgetting something too horrible to remember and put a horrible thing behind a closed door." Indeed, JB becomes agitated at seeing bright white and also rows of straight lines, something repeated throughout the movie.

Apart from Casablanca, this features one of Ingrid Bergman's best performances, and this is the first of two Hitchcock films she did, the other being Notorious. And Gregory Peck gives a standout performance as someone suffering from amnesia, haunted by something traumatic in his childhood, and someone who could be a killer.

Michael Chekov does wonders as Dr. Brulov, a delightful old man and Petersen's mentor, described as someone in a complete dream state, socially. His eyeglasses and goatee make him a stereotypical Freud-like figure.

The dream sequence, based on a design by Salvador Dali, is best seen without me giving it away, and the incidental music adds to the suspense after each discovery.

Along with Vertigo, Rear Window, The Birds, and Dial M For Murder, one of my favourite Hitchcock movies.