A Year of Hitchcock: 52 Weeks with the Master of Suspense by Eric San Juan, Jim McDevitt

By Eric San Juan, Jim McDevitt

Review
Recommended. (Library magazine )

A yr of Hitchcock is prepared into fifty two chronological chapters and invitations readers to spend a 12 months with the director's top works to understand his improvement. every one movie is taken into account in mild of Hitchcock's occupation and subject matters important to his paintings, delivering a spotlight at the diversity of his well-known and lesser-publicized motion pictures and offering a key research excellent for any college-level movie library excited about Hitchcock's motion pictures. (California Bookwatch, November 2009 )
Review
Recommended.
(Library magazine )

A 12 months of Hitchcock is prepared into fifty two chronological chapters and invitations readers to spend a yr with the director's most sensible works to understand his improvement. each one movie is taken into account in gentle of Hitchcock's occupation and subject matters relevant to his paintings, providing a spotlight at the variety of his well-known and lesser-publicized movies and offering a key research excellent for any college-level movie library occupied with Hitchcock's motion pictures. (California Bookwatch, November 2009 )

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Example text

It was the first sound film not only for Alfred Hitchcock, but for England. That alone makes it noteworthy—but does it hold up as entertainment? As a groundbreaking film filled with technical achievements, there is a lot to admire about Blackmail, but as a suspense film it is a mild disappointment when viewed against Hitchcock’s other work. Despite this, the technical aspects of the film are remarkable enough that, in the end, it stands out as an essential film. One has to admire Hitchcock’s willingness to turn this into a talkie in the WHERE’S HITCH?

Eventually, the Boyles find they will not be receiving the inheritance and are forced to sell their home and live as vagrants. IMPRESSIONS Even the greatest of artists are prone to producing a work they’d rather forget. Juno and the Paycock is such a film. A talky stage play put to film, the 38 JUNO AND THE PAYCOCK (1930) 39 only reason it can’t be called “forgettable” is that it’s difficult to forget being so bored by a Hitchcock film. Sir Alfred built his career on tight plots and sharply honed drama, the kind of films that, even when you see their inner workings, rarely fail to play the viewer like a violin.

One wonders if the experience Hitchcock had filming this sequence would later serve as the seed for his bold camera experimentation in Rope. And in what may be one of the funniest bits seen from Hitch thus far, one of the victim’s neighbors speaks incoherently for a short while, only to be understood when he puts his dentures in his mouth. This amusing moment comes during what is an otherwise serious sequence of events. Hitchcock often used such techniques to great effect. Rarely is it done better than it is in this sequence.

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