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I just finished watching "Psycho" for the third or fourth time - enough so that I was able to study details instead of worrying about the plot. People can talk about "Citizen Kane," or "Vertigo," or <pick your choice> as "Best Ever," but for me, personally, since "Psycho" scared the holy hell out of me when I was about twelve-years old (introduced by, of all people, Count Gore de Vol - I guess I first saw it in 1973), this is a film that has appealed to my most basal childhood terrors, and also still resonates with me as a 57-year-old man. I suppose the ending is now dated, since *everyone* knows about "what happened," and also the concepts are no longer novel with the audience - in that respect, I can see "Vertigo" remaining fresher in the public eye - but for me, I might have to pick "Psycho" as my all-time favorite movie. Maybe. Here are a couple of interesting details that are in no way spoilers: In Norman's bedroom, there sits on the turntable, of all things, Beethoven's Eroica Symphony. Why? Maybe the proximity of the word, which actually means "Hero" and not "Erotica," but if anyone knows for sure, please chime in. When Norman first realizes "what happened," he recoils in horror, knocking a picture of a stuffed bird off the wall and onto the floor. The penultimate person you see in the film, opening and closing the door, is an uncredited Ted Knight: Blink, and you'll miss him:
*** SPOILER ALERT *** After watching the indescribably wonderful documentary, "Hitchcock/Truffaut," last night, I leapt into the film "The Wrong Man," which is the one film by Alfred Hitchcock about which then-critic Jean-Luc Godard wrote his longest-ever piece of criticism - Both Godard and François Truffaut, pioneers of the "French New Wave" of Directors, were then working as critics for the legendary French publication, "Cahiers du Cinéma." so this film fits right in with the Hitchcock/Truffaut documentary, and was mentioned in it as well. This is the only Hitchcock film where Hitchcock himself came out and addressed the audience at the beginning, assuring them that it was a true story, and that the facts that went into the tale were just as fantastic as most of what he's written about as fiction in the past. "The Wrong Man" stars Henry Fonda as a respectable, but struggling musician in New York City, Manny Balestrero, and his wife, Rose, played by Vera Miles. Rose has an impacted set of wisdom teeth, which can only be fixed to the tune of $300, which is money the two don't have - the next day, Manny goes into the bank and asks to borrow on Rose's insurance policy, but three female tellers are certain that he is the same man who came in recently and robbed the bank - they pacified him, and told him to come back in with his wife, while putting the authorities on full alert. In a scene which came shortly afterwards, I was certain I recognized the lady who played Manny's mother, Esther Minciotti, and sure enough, Minciotti had played the wonderfully endearing role as Marty's (Ernest Bourgnine's) mother in the 1955 Academy Award-winner for Best Picture, "Marty." If you watch the Hitchcock/Truffaut documentary first, you'll remember very well the scene in which Manny first gets thrown into his jail cell. He looks around - not at the locked door - but at all different angles, and it gives the viewer a real sense of being locked up. This is his very first experience in jail, and his fear is palpable. Halfway through this movie, I am awestruck at how realistic it is - there's no fluffing anything up; it's as if we're watching a real story unfold (which we are). I'm a little surprised that Manny is so stoic about everything, but he seems completely shell-shocked to this point - almost like he's unable to get hold of his facilities. Hitchcock *really* takes his time setting this plot up - Manny doesn't even meet his attorney, Frank O'Connor (a real attorney, played by Anthony Quayle), until about two-thirds of the film is over. Fortunately, O'Connor - seemingly a decent man - accepts the case. Some interesting notes: Shortly after meeting with O'Connor, Manny and Rose run into two giggly girls living at an apartment: One of them is a twelve-year-old Tuesday Weld (of "Looking for Mr, Goodbar"), and the other is an eleven-year-old Bonnie Franklin (of "One Day at a Time"). It's noteworthy how many known actors and actresses are in this film - when Rose has a mental breakdown, she sees a psychiatrist, Dr. Bannay, and it's none other than Werner Klemperer - Colonel Klink on "Hogan's Heroes." During Manny's trial, one of the jurors is Barney Martin (Jerry Seinfeld's father on "Seinfeld"), and finally, Harry Dean Stanton (Brett in "Alien") plays a Department of Corrections employee, though I couldn't find him when I looked. I believe none of the people mentioned in this paragraph are credited, and for some, it's the debut film of their career. This is about the closest thing to being a "non-fiction" film I've seen without actually being one - it's "based on a true story," and is so faithful to it that it doesn't seem right labeling it a "crime movie" or a "suspense movie." It's clear that Hitchcock took great pains to stay as true to the base story as he possibly could have, so I'm going to go ahead and label this movie "non-fiction" even though that may not be technically correct. A magnificent film. Apr 17, 2013 - "History of Film Criticism: Godard on 'The Wrong Man'" on torontofilmreview.blogspot.com
After viewing the 1956 version of Alfred Hitchcock's "The Man Who Knew Too Much," I decided to watch the 1934 film by the same name, also directed by Hitchcock. Not satisfied with his earlier work, Hitchcock decided to remake the film. While the basic plot remains the same, I was surprised at just how different the two films are. I liked parts of both films, but loved neither. Jimmy Stewart and Doris Day are endearing in the 1956 version in their roles as a Midwestern doctor and his wife on a Moroccan holiday. But the film felt too long as it went on-and-on beyond what I considered the climax of the movie. *** MILD SPOILERS FOLLOW *** The 1934 version felt too long as well, with an unsatisfying shootout scene near the end that felt oddly out of place in the film. There was more humor in this version (the dental office scene in this film being more entertaining than the taxidermist scene in the 1956 version), but there were a lot of flaws throughout the film which made me understand why Hitchcock would want a mulligan.