The Man Who Knew Too Much

     Alfred Hitchcock had wanted to remake his 30's thriller "The Man Who Knew Too Much" since around 1940.  And thankfully, he did remake it.  The result is the very underrated 1956 mystery that is slowly emerging as a lost Hitchcock classic.  It deserves it.

     Ben and Jo McKenna (James Stewart and Doris Day), an American couple vacationing family in Morocco, accidentally and unwittingly become part of an assassination plot.  Before they know it, their son is kidnapped, and the two are knee deep in a web of murder, intrigue, and suspense. This is classic Hitchcock here, kids.  For many reasons.  First off, it's got James Stewart in it, and we know how all the other Hitchcock/Stewart collaborations ended up.  I'm not a fan of James Stewart, but I love his Hitchcock films.  What does that say?

      Doris Day holds her own here, and delivers an often overlooked but superb performance.  The film offers some gorgeous photography, and we're even treated to Doris delivering one of her signature tunes, "Que Sera, Sera".  The film builds to a stunning climax chock full of suspense, and the usual Hitchcock humor shines throughout.  It's all around enjoyable on all levels.

     I grew up watching this on the Late Show, and I love it just as much as "Rear Window", "Vertigo", or "North By Northwest".  Hitchcock was in his prime throughout the 1950's, belting out one classic film after another.  "The Man Who Knew Too Much" is one of those films.  Virtually ignored for many years, it's now slowly but surely finding an audience.  It's a great rainy day flick, or part of a Hitchcock marathon.  Thumbs up.  Way up.

Vertigo

     A retired detective, Scottie Ferguson, who suffers from a paralyzing fear of heights, is called to follow an old school chum's wife and her strange actions.  Ferguson soon finds himself falling in love with her, but this is no ordinary love story.  Scottie becomes entangled in a dark, dangerous web of deceit and obsession.

     "Vertigo" is one of the most exquisitely made movies in history.  Filmed like a fever dream, Alfred Hitchcock's masterpiece is a triumph of cinema.  Almost lost forever, it's been painstakingly remastered, and the picture and sound quality are nothing short of astonishing. It's dark, haunting, and hypnotic- there is just something about this movie that gets under your skin. It still has an effect on me, and I've seen it way too many times to count.

     To give away anything about this movie is a crime- trust me, it just needs to be seen.  Part of a string of outstanding movies made by the master of suspense, "Vertigo" is such a classic that I get a bit tongue-tied just trying to talk about it.  I'm such a Hitchcock junkie that I can never find anything bad to say about any of his movies, much less "Vertigo".  Unbelievably, this was a huge flop when it was first released in 1958- how this is possible is beyond me.  James Stewart delivers the performance of a lifetime here.  It's almost hard to imagine good ole' American Stewart in such a dark role, but he pulls it off beautifully.  Kim Novak is also unforgettable- she doesn't even speak until almost an hour into the film, yet she immediately makes a lasting impression.

      Hitchcock mixes a complicated story, lavish visual detail, Bernard Hermann's unearthly and mysterious score, tension stretched almost to the point of discomfort, incredible San Fransisco locations and unbelievable matte shots to make a movie that's simply astonishing.  The restoration edition DVD  is a must-have, and the documentary detailing the movie's restoration is completely and utterly fascinating.  Honestly, I could blab all night about "Vertigo", or you could just watch it for yourself and hopefully fall under its mysterious and enchanting spell.

Psycho

     A woman steals $40,000 and flees town.  During a bad thunderstorm, she stops at an out-of-the-way motel to spend the night.  What follows is one of the most infamous scenes in horror history.

               "Psycho" is pure movie-making genius.  Hitchcock's masterpiece is a brilliant exercise in music, cinematography, editing, acting, and directing. I can only imagine sitting in an unsuspecting audience in 1960, completely unaware of what was about to happen on the screen. NOTHING had ever been done like this movie before, especially the infamous 'shower scene'.  With the heroine of the film brutally butchered during the first 30 minutes, Hitchcock suddenly and shockingly announced that from now on, all bets were off.  Horror was no longer safe.  Anything could happen. "Psycho" undoubtedly paved the way for the likes of "Night of the Living Dead","The Texas Chainsaw Massacre", and "Halloween", and so many others.  It's so engrained into our culture now that you don't even have to have seen the movie to know the story.  (Although I would have to say you have no business watching movies if you don't...)  You can even buy a shower curtain with "Mother" weilding a knife on it, it's so well-known.          
      Anthony Perkins made such an impact as Norman Bates, that he never was able to escape the role.  He was forever known as Norman.  Can you think of any other memorable role of Anthony Perkins?  He is simply too good in the role.  His Bates is truly spooky- and he cast the mold for Michael Myers, Hannibal Lecter, and such.  "Psycho" was the first true slasher, inventing a genre and changing the face of horror movies forever.  It's Hitchcock's scariest moments on celluloid I think, besides "The Birds".  And still holds up magnificently, especially next to some of the pale remakes bombarding us today.  It's still crisp and fresh.  I can't imagine anybody not having seen this classic example of tension and suspense. And if you haven't, what are you waiting for?  This is one of the greatest of many great Hitchcock movies, and the grandfather (or should I say mother?) of all slashers.  Words really can't do the movie justice, though.  Just watch the movie.  You'll see what I'm talking about.

Rear Window

James Stewart plays L.B. Jeffries, a photographer confined to his wheelchair in his Greenwich Village apartment and out of sheer boredom takes to spying on his neighbors during a summer heat wave.  Soon, to his amazement and our utter delight, he thinks he has witnessed a murder.  Grace Kelly plays the luminous Liza Fremont, girlfriend of Jeffries who's ready to settle down, but is he?  Thelma Ritter rounds out the cast as the insurance nurse sent to check up on Jeffries.  Does L.B. just have an overactive imagination, or is he onto something much more sinister?

"Rear Window" is my all-time favorite movie.  And I would go on record as saying that it's Alfred Hitchcock's most perfect movie.  Everything about this movie is right.  It works. If I were to leave only one movie in a time capsule to epitomize the fabulous 50's, it would hands down be "Rear Window".  I first saw this movie when I was 13 years old- I was spending the night with my favorite cool aunt and "Rear Window" was on "The Late Show" that night.   We popped some popcorn, sat down and started the movie.  From the opening scene, I was riveted... and to this day I still get the same effect.  

This is exactly what movie-making is all about- the film should be required viewing in Hollywood.  Besides the direction, which is obviously incredible, there's that dream of a cast. The acting is nothing short of magnificent- James Stewart, Grace Kelly, Thelma Ritter, Wendell Corey, and Raymond Burr all sparkle with crackling dialogue that seems absolutely, 100% natural.  As if they weren't enough, the neighbors that we get to spy on with James Stewart are all so thoroughly entertaining, I've always felt that they all deserve their own movies!  I have always wanted to know their names and stories- that alone is a testament of how good this movie is. 

 Grace Kelly is stunning as always, and you just can't beat the sassiness of the always-great Thelma Ritter. "Rear Window" is such a rich movie- it's at times witty, wistful, and suspenseful.  I can't stop raving about this movie.  Widely considered one of Hitchcock's finest films and ranked #48 on AFI's 100 Years, 100 Movies...  Also added to the United States Film Registry in 1997.  A classic murder mystery from 1954 that only gets better with each viewing.