Hitchcock
DIRECTOR: Sacha Gervasi
CAST: Anthony Hopkins, Helen Mirren, Scarlett Johansson, Toni Collette, Jessica Biel and Danny Huston
CLASSIFICATION: 13 V
RUNNING TIME: 105 minutes
RATING: 3 stars (out of 5)
Helen Herimbi
You don’t have to have a degree in film to know that Alfred Hitchcock was an iconic director.
But what film students may have over the layman is a depth of knowledge about the goings-on behind the scenes of films that had the eccentric director at the helm. Films like The Birds and the groundbreaking Psycho.
Now screenwriter and director Sacha Gervasi’s film adaptation of Stephen Rebello’s book, Alfred Hitchcock and the Making of Psycho, gives us a glimpse of The Master at work during a period that spans a year-and-a-half. This is that story.
Alfred Hitchcock, played by Anthony Hopkins, wants to make a horror movie unlike any other. The master of suspense wants to direct a bloody film version of Robert Bloch’s book, Psycho.
So thrilled by the prospect is he that at one point he tells those gathered at a press conference for Psycho to “try the finger sandwiches. They are real fingers.”
Spurred on by a reporter’s question about his retiring and fuelled by Paramount Pictures’ refusal to bank all its budget on his idea, Hitchcock turns to his wife, Alma Reville (Mirren), and the mortage on their house, to fund the film and add to his legacy.
This movie includes most of the hearsay stories from the filming of Psycho (such as how the horrifying shower scene was achieved), but delves too deeply into what could have been troubling Hitchcock’s mind.
Embodied superbly by Hopkins, this Hitchcock is like the cliché: cool, calm and collected.
But the bits where he is impassioned and authoritative – right down to how his chin quivers like a wattle – are the marks of an actor who is also a scholar.
For at least an hour-and-a-half, the viewer ceases to see Hopkins.
That’s how you wear a fat-suit, Tyler Perry!
The chemistry between Hopkins and Mirren, who plays the under-appreciated Alma with a breeze-like coolness and a confident subtlety, isn’t electric.
It is gentle and sure of itself and just fits. Hand and glove.
Just like the real-life relationship between Alfred and Alma, who basically was Hitchcock’s professional right-hand woman.
This may be Gervasi’s narrative directorial debut, but he surrounded himself with a team who knew how to deliver.
The cast are good – even those who play bit parts, such as Jessica Biel, are loved by the camera.
The editing falters a little. Because it contains scenes that are merely thoughts or dreams, in a meta-movie style, it’s sometimes hard to tell where the “reality” of the storyline begins and the imaginary ends.
Speaking of reality, some Hitchock enthusiasts have been vocal about alleged inaccuracies in the film – such the year in which Alma had an affair, or didn’t.
Overall, Hitchcock is enjoyable and has some superb dramatic moments and some cheekily funny ones, too.
There’s a point where Hitchcock breaks the fourth wall to talk to the viewer and wonders what his next film should be.
Just then, a raven comes flying into the shot and perches on his shoulder.
If I could insert a smiley face here, I would.
If you liked My Week With Marilyn and enjoyed Psycho, then you’ll love this.