Director Dissection with Seanc and Rauldc

Can’t wait actually. Just for a little discourse. I like when you and I disagree a bit on movies. Your perspective definitely makes me look through s different lens. Hope that makes sense and you take that as a compliment.

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“Except for markf, you’re all a disgrace to cinema.”

Same. I see a lot of people call it dated, but it couldn't be more in line with the trends at the time -Hitchcock's filmography has always been, in my opinion, and that's why he could make vastly different movies with similar points of interest-, and I think it's very low-key Hitchcockian that he becomes more attached to the comedic aspects of this story. I'd put it in a reasonable middle ground in his filmography, a little worse than most of his 50s streak but also better than almost everything he did in the 30s, for instance.

Makes sense and thanks. Yeah, I'm the same way too, it's good to have an intelligent disagreement. I've always liked those convos with you, I get a lot out of them. I'll do my best to disagree

If you wanted controversy, you should have picked the movie Mr. & Mrs. Smith (1941). I think it's the only screwball comedy film that Alfred Hitchcock directed. I doubt everyone would have the same opinion about that movie.

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I actually watched that one for the first time a couple months ago. As far as screwballs go, I was kind of into it. Again, character stuff. Just no getting away from it, Hitch should be called the master of character. Overall, it did end up being too silly for me though. Screwball comedy tends to drive me a little nuts. I gave it a 2.5. Which is higher than many of the “big name” screwball comedies I have watched.

It's probably my second least favorite Hitch, although a lot of it already is erased from my memory.

I only mentioned Mr. & Mrs. Smith because you said that you were hoping for some controversy in this thread. One thing almost everyone agrees with is that Hitchcock is one of the greatest directors ever, especially when it comes to suspense movies.

But anyone who is looking for a great Hitchcock movie wouldn't go looking for this movie because it's not what Hitchcock is known for. He's called the "Master of Suspense" for a reason. I wouldn't expect this movie to be at or near the top of anyone's Hitchcock movies list.

Having said that, IMO, as screwball comedies go, it's a great movie. But there's almost always controversy with comedies because everyone has different opinions about what's funny, and some people just don't like any screwball comedies, no matter how good they are.

If you like screwball comedies, try watching it as just another comedy movie, not as a Hitchcock movie. It really can't be compared to any of his other movies, and it's not really fair to even try to rank it among his suspense movies. It wouldn't even make it near the top of my Hitchcock list, and I love screwball comedies.

I'm sure I'll watch again at some point. I think you are right in that I probably watched it comparitively to his other films.

Family Plot



For me, it's almost like Hitchcock said "screw it, let's just have some fun and see what happens" and really it excels pretty well in the fun factor. I was a little worried the second time around as it starts off kind of weak but especially when we get to that diner scene the fun and the tenseness really amps up. Dern I thought was really good in it. Harris was good too. It's not the greatest looking or the greatest dialogue from a Hitch film but the entertainment level is still there. My favorite scene was that car scene. It just felt like a classic Hitch thrill scene and I very much enjoyed it. So yes, I don't think this is anything near the bottom for Hitch as many others do. It's a pretty solid film all around even if it isn't at masterpiece level.

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Real glad you thought it was fun too Citizen! We are going to watch Vertigo next!

That was fun, and Barbara Harris grabbing the wheel contorting all the round made it even more fun for me. Poor Mustang though, ouch!

I'm going to shoot for Gone With the Wind probably watch it over two nights, then I could do a rewatch of Vertigo.

Funny how different things just hit people differently. I really liked the stripped down locations, but the fancy mansion with the secret room felt so artificial to me. Felt like something you would see in a Bond film. Which is fine but didn’t fit the rest of the movies aesthetic to me.

I wasn't really into the kidnappers house per se, mainly it was how the set for the brick wall looked so real to me, I was fascinated by how it was constructed and how it opened and shut without showing it was a door.

Yeah, it’s totally invisible which is pretty cool and different from what we normally see.

So, did anyone else see something fall out of Dern’s pocket when he crawls through the basement window? I saw it very clearly and thought it would play into the cat and mouse at the end. After I was wondering if it was just an accident.

You got sharp eyes, I didn't see that. I wonder if it was unintentional or an easter egg Hitch added? I was interested in how Dern goes through the garage window head first and then somehow spins around while hanging by the window frame to land on his feet, that was kinda cool.


I did notice something that was really quick, Hitch focused light on the tip of the switchblade that Ed Lauter flips open when talking to Devane in his jewelry store backroom. It has a light burst reflection right at the chrome tip that last only a second.

Through the first 2/3 of Vertigo it’s like the best ghost story ever told, then all of a sudden it becomes grounded in reality, and somehow becomes even a better ghost story. That’s the magic of Hitch. He’s the master for a reason, and you won’t find me arguing with anyone who considers this his best. Don’t think that honor will ever go to anything but Rear Window for me, but Vertigo is one of about five movies that could be second for me on any given day.

The atmosphere here is just sensational. The score, use of color, San Fransisco setting, and the way Hitch unfolds his story. all of it working in perfect unison. It won’t be me talking about a Hitchcock movie unless i point out that his care for character is what sets all of this up. He is the rare plot heavy director whose plots almost never matter. He sets you up to care by giving you rich character development, and then he knocks you down. the first scene between Midge and Scotty is one of my favorite scenes in movies period I believe. I’m completely on board with everything from the jump because of how these two are playing off each other. There’s a playfulness, love, and bit of brokenness here that sets up everything to come. Stewart is always my guy, but I can’t explain how much I like Geddes here. One of my favorite performances in a movie ever. I really like this character because she is so incredibly strong, but seems very vulnerable too. It is never discussed why midge and “Johnny” aren’t together, but we want them to be, because we know he would be much better off.

Once Novak and Stewart get together it is very good as well. There’s a danger to the relationship which drives the rest of the film. Maybe Stewart’s turn can turn some people off, but I buy it. Maybe not so much because it feels realistic but because Stewart just sells it for me. The obsession portion of the movie really grabbed me this time. The lighting in Novak’s room during the last third is just great and I’m sure greatly aids the ghostly feel.

I have always loved the ending of Vertigo. This is my 5th viewing, I think, and the ending has always been one of my favorites ever. This is just a fantastic film. It’s one I kind of feel like a fraud for gushing over so much because of its reputation. I will get over it though because it really is that good.

This is the third time watching Vertigo and my rating remains a solid . This time around I appreciated even more of the visual work that Hitch put into his film. First off, let me say how impressed I was with the title graphics done by the legendary Saul Bass. Who cares about title graphics? I do. The title sequence in movies set the mood and tone for what the viewer will be watching and the mood set by Saul Bass' first time use of computer graphics is nothing short of a show stopper which sets the tone for what's to come.

I forgot to add this:
The ending: I feel that the audience has not been primed enough to view Judy/Kim Novak so badly that she needs to die at the end at least I didn't want her to die.....Stewart and Novak are in the bell tower and he's assertively telling her just how the murder was planned and committed (that part is in the film and so really no need for that earlier bell tower flash back explanation scene)...The ending should have differed when the nun enters the bell tower scaring Judy and she falls....Only in my version Kim Novak grabs the bell tower ledge and dangles perilously, just like Stewart did in the beginning of the film. Stewart is the only one who can save her, but he struggles with his vertigo..Will she fall to her death? Or will he save her?...After a few tense moments, Stewart finally musters the courage and does save her...Then a final end scene is: a far shot from the tower looking down at a cop car, as we see a blonde in a gray suit dress being placed into the cop car.