If I had a time machine to observe audience reactions of the past, I’d first go to an opening screening of “Psycho” (1960) to enjoy
The riches-to-rags (and perhaps back to riches) story was among Alfred Hitchcock’s favorite structures of the Roaring Twenties. He approached it seriously in “Downhill” (1927),
“Rebecca” (1938 novel, 1940 movie) is a pure example of Alfred Hitchcock taking a Daphne du Maurier story and adapting it for the screen. Interestingly,
“Stage Fright” (1950) revisits the wrongly pursued person and theatrical setting of “Murder!” (1930) and executes the subsequent events better. Flirting with slow-burn romantic intrigue
“Secret Agent” (1936) feels a little older than the films surrounding it in Alfred Hitchcock’s catalog. It’s a period piece, set in the buildup to
If the shower scene – or should I say The Shower Scene – from Alfred Hitchcock’s “Psycho” (1960) wasn’t already the most obsessively analyzed sequence
After middling creative success with what today play like filmed theatrical works early in the sound era, Alfred Hitchcock opens up to the medium’s potential
Alfred Hitchcock slowly and steadily moves closer to learning how to do sound films (which, to be fair, put him in the same boat as
“Murder!” (1930) is an early example of Alfred Hitchcock’s favorite theme of the wrongly accused person (in this rare case, a woman rather than a
“Easy Virtue” (1928), the sixth among Alfred Hitchcock’s preserved silent films, today plays like a symphony orchestra performance accompanied by moving images. As with most