“Juno and the Paycock” (1930) was, even early in his career, an unusual adaptation for Alfred Hitchcock, as the material is misery-laden and lacking in
“Suspicion” (1941) is driven by two movie stars, Cary Grant and Joan Fontaine, acting the heck out of their roles in order to make an
“Psycho” (1998) gets the wrath among near beat-for-beat remakes of Alfred Hitchcock’s films, but there are many candidates for worst remake of his work. “Shadow
Alfred Hitchcock’s “The Paradine Case” (1947) is so nice looking and features such great performances that it almost overshadows the thin story by uber-producer David
“Waltzes from Vienna” (1934) isn’t quite a musical – after all, it focuses entirely on the creation of a single song, Johann Strauss II’s “The
“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
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
With his sixth sound film, “Number Seventeen” (1932, sometimes titled as “Number 17”), Alfred Hitchcock accidentally showcases his skill in action direction and editing. It’s