One of the great masterpieces of Cinema played on the Paramount screen last Wednesday, and once again I was there to appreciate it. What I was really flabbergasted by though, was the fact that so many people in the audience were seeing "Psycho" for the first time. Our host, the programmer of the Paramount Classic Summer Film Series, asked for a show of hands for people who had never seen "Psycho". It was hard to believe that almost a third of the audience in attendance that night raised their hands.
The rest of us, who are seeing "Psycho" for the umpteenth time, waited in glee for the many twists and turns that take place during the story. In the long prologue to the violence, Marion Cranes transaction with the used car dealer got a lot of laughs, but you could also sense a great deal of tension in the audience. In fact the laughter that came from the audience almost certainly was generated by people who had seen the movie before and knew the irony of a particular statement, we're waiting for the turn that comes very quickly.
Once again I think the best scene in the movie takes place in the parlor as Norman Bates tries to relate to Marion, but marks himself as a strange fellow with every sentence he utters. We can still empathize with Norman at that moment, because of the brilliance of Anthony Perkins performance. We can also see the moment of redemption when Marion decides to face her mistakes and return to Phoenix and try and clear up the horrible decision she had made. This is the moment where the movie turns from being a mere thriller to a tragedy, and the two actors in the scene are both brilliant in the way they play their parts.
It must be nearly impossible in modern culture to be on the outside of the big twist in Psycho. 25 years ago I tried to keep my kids from knowing about Norman Bates and his mother, until they had a chance to see the film for themselves. Social media, YouTube, endless memes, all results in fewer surprises for film audiences. That's too bad. One of my friends on the Lambcast refuses to watch trailers for films, and I completely understand her perspective. I just wish trailers didn't give so much away. But I still need to have some sense of what a film is about if I'm going to decide to watch it. I think we could use more trailers like the one above, famous for Alfred Hitchcock walking us through the set of his movie.
Anytime you can watch "Psycho" from beginning to end, you should take advantage of it. Anytime you can see it with an audience in a real theater, the real crime would be skipping it.
Another Hitchcock film for the Paramount classic summer film series 2025. I've seen To Catch a Thief before, but it has literally been decades since I last saw it and I remembered very little of it. I did remember a substantial amount of the Cary Grant Grace Kelly by play. And I did remember who the actual Thief was, but I'd forgotten the machinations that Grant's character had to go through to discover the truth.
The movie doesn't have the suspense of most of Hitchcock's films, but it does have a lot of romance and the spectacular location they probably made for a fantastic summer vacation for everybody involved. Just as a quick reminder Grant's character was a jewel thief before World War II, but became a resistance fighter for the French during the war, and was seemingly reformed. A new series of thefts from the resorts on the French Riviera point to him becoming active again as a criminal. He has to discover who is using his MO and try to vindicate himself.
It's easy to see how people in the 1950s, might not care very much about the plot of the film when they have these two exquisitely beautiful people to look at. Cary Grant and Grace Kelly may be the most magnetic couple on screen in that particular decade. The buy play between them is humorous, and if you've seen any of the Steven Soderberg oceans films, you'll have a good sense of where the humor in those films come from.
This was the first film of the double feature that we saw on a Sunday afternoon, and it was a delightful way to spend the late afternoon.
It's Hitchcock Week at the Paramount Theater and last night was a chance to see one of the best from the master of suspense, "Notorious", the 1946 spy thriller starring Cary Grant, Ingrid Bergman, and Claude Raines. Set mostly in Rio after the war, "Notorious" is about an attempt to penetrate a Nazi spy ring, operating in South America. Grant plays Devlin, an equivocating intelligence agent, who recruits the daughter of a German Spy, convicted of treason in Florida. For the romance element of the story to work, we have to believe that he is in the dark over exactly what his superiors want from Alicia Huberman.
The world of espionage is particularly dark in Hitchcock's films. Although we want the American agencies that he vaguely refers to to succeed, they do so through one of the most unpleasant means available. In both "Notorious" and "North by Northwest", party girls with emotional vulnerabilities are asked to seduce the targets in order to gain intelligence. With Eva Marie-Saint we don't get a lot of backstory, but Ingrid Bergman's character is all backstory, especially for the first act of the film. Alicia has rebelled against her Nazi father and in drowning herself in booze, she has become a loose woman, who is taken advantage of by a variety of men. At the depth of her humiliation, Devlin, the character played by Grant, insinuates himself in her circle of friends and begins the process of luring her into an assignment in South America. I find it interesting, that Grant is the man who falls for the loose women turned spies in both films. In "North by Northwest" he is an innocent, caught up in plans beyond his ken. Here, he is a calculating cad, who learns the dangers of his own callousness.
"Notorious" is at heart a love triangle, the third party being the erudite Alexander Sebastian, a key member of the Nazi group. It seems that years earlier, when Sebastian was friends with Alicia's father, he had a massive crush on her, and the U.S. and Brazilin intelligence group wants to take advantage of that by inserting her into his life. In essence, pimping her out for Uncle Sam. The fact that Devlin has fallen for Alicia and she for him, is a big complication. Devlin is cold to Alicia, as a way of distancing himself and her from the unpleasantness of her activities. Regardless of what Devlin says to her however, he is defensive on her behalf with the intelligence group in private. In an excellent illustration of true movie dialogue here is an example:
Paul Prescott: [about Alicia] I don't like this, I don't like her coming here.
Walter Beardsley: She's had me worried for some time. A woman of that sort.
Devlin: What sort is that, Mr. Beardsley?
Walter Beardsley: Oh, I don't think any of us have any illusions about her character. Have we, Devlin?
Devlin: Not at all, not in the slightest. Miss Huberman is first, last, and always not a lady. She may be risking her life, but when it comes to being a lady, she doesn't hold a candle to your wife, sitting in Washington, playing bridge with three other ladies of great honor and virtue.
Devlin gives himself away to his superior Paul Prescott, played by veteran actor Louis Calhern, with a dash of charm and a bureaucratic mind. Prescott has a clever scene revealing a little of his humanity when Devlin comes to him worried about Alicia, and the discussion takes place while he is prone in bed, eating cheese and crackers. Not the tightly controlled mission boss, but a man who has to kick his shoes off an dine alone in bed sometimes. He knows what he is doing with Alicia, but he is not the monster that he could be. A decade later, Leo G. Carroll will fill a similar role in the other spy film I mentioned.
My admiration for Claude Rains as an actor has been expressed before. In "Casablanca", "The Adventures of Robin Hood", and "The Invisible Man", Rains has been one of the consistent lights of the golden age of Hollywood. He is the sweetest and most vulnerable Nazi in films, as a besotted member of this cabal, he is both murderously awful and sympathetic. That is a piece of cognitive complexity that only an expert performer like Rains could pull off. The defeated resignation of his denouncement is perfect for the character and the film.
There are several moments of tension in the movie. Bergman's acquisition of a key without her husband discovering it is one of those sequences. Of course the search for the secret in the wine cellar is gripping as well. You could hear the audience last night, collectively inhaling and holding their breath, as a wine bottle teeters on the edge of a shelf. Finally, the elegant bluff and turning of the tide with Grant rescuing Bergman from the clutches of Rains, and his loathsome Mother. The mother, played by actress Leopoldine Konstantin, is one of the Mother's that Hitchcock used as a tool for manipulating his male leads in the movies. While not as famous as Norman Bates mother, Mme. Sebastian, would certainly belong in a rogue's gallery of villains.
As usual with a Hitchcock film, the production design is impressive. Although the scenes set in Rio rely on rear projection, they still look convincing. Alicia's house in Florida, and her apartment in Rio, swim in the deco elegance of the era and her outfits do the same thing. The camera work is impeccable, I liked the trick with the coffee cup in the foreground as Alicia is in the background, both in focus. There are a number of moments shot from above that also establish the pecking order of power in the household, but allowing us to track the activities of the characters as well. The final descent on the staircase is an excellent visual complement to the plot tension in the script.
From 1945 to his death in 1980, Alfred Hitchcock made 24 films and in that thirty five year period, a dozen of them are essential and another half dozen are excellent. "Notorious" deservedly belongs on the top shelf with a cast of stars that were at the height of their powers. A big screen visit is always called for when a Hitchcock film is involved. Tonight, two more of the top tier films.
The above is the famous Alfred Hitchcock promo for his film "Psycho". It is a six and a half minute trailer, it is an amusing tour of the location for the movie with some dry commentary from the master himself.
This was the final film in the Hitchcock week of films and sadly it was the only one I could make it to this summer. "Psycho actually screened once before, earlier in the week, but the demand for the film was such that the Saturday matinee was packed also, and there was plenty to be excited about.
"Psycho" is the precursor to all the slasher films to come, and they still all have failed to live up to it's legendary status. That's because those films focus on the horror of the murders but they have paper thin characters. "Psycho" has a half dozen interesting characters and two leads that are among the finest performances ever in a film, much less a horror film. Janet Leigh exits the film in twenty minutes, but up to Marion Crane's death she is a terrific character filled with lust, sadness, guile, guilt and regret. Her story arc is interrupted by her murder but we understand in the end that she was a good woman who simply went mad for a moment. Norman Bates on the other hand, has been mad for years, and it is only for a few moments at a time that he seems sane.
The clash between the thief with regret and the mother's boy with sexual hang-ups is so perfectly played out in the scene in the office parlor of the motel. Marion is thoughtful, sympathetic and friendly with Norman, in spite of his obvious quirks. Norman is outgoing, sad, resentful and shy as he talks with Marion over a cheese sandwich and a glass of milk. The surroundings look comfortable, until you notice all the stuffed birds in the room, and suddenly his quirks are a little more disconcerting. Leigh and Perkins are both brilliant in this scene and it is my favorite in the movie.
Martin Balsam has been in a number of films I have loved over the years. His private detective Arbogast, is surprisingly warm in this film. He is looking for someone who has run away and has a small fortune in her purse, but his relentless search is not malevolent, he seems to want to help Marion as much as find her. His sympathy toward Lila, her sister, and even Sam Loomis, comes across as real rather than just a tool to put them at ease. Even his dogged questioning of Norman is done with velvet gloves. His moment is the opposite of Marion's. She was a victim of a slow build up that the audience sees coming, his encounter with Mrs. Bates is shockingly quick and almost a jump cut.
The title sequence and the Bernard Herrmann theme are enough to get most people salivating at the thought of the whole movie. The work of Saul Bass is legendary and his design for the title sequence is simple and exquisite. Combine that with the string saturated violence in Herrmann's score and you know a treat is coming.
With many film series, it is easy to say what your favorite is. Star Wars fans seem pretty passionate about "The Empire Strikes Back" and let's face it, no one likes "Cars 2". With directors, the same is not as obvious. When the film maker has such a unique style but also the talent to apply it to almost any genre, it gets to be more difficult. If asked, I would say my favorite Hitchcock films are "Vertigo", "North By Northwest" and "Psycho". As to which one I think is the best, well it depends on which one I saw last. Today, my favorite is the Cary Grant, Eva Marie Saint, James Mason thriller from 1959.
Since I am such a big fan of James Bond, it seems natural to love "North by Northwest" because it really feels like it set the groundwork for contemporary spy films. There is an intricate plot, but most of the mystery is background for a series of sequences that are amazingly staged or performed. The actors get to play with their characters and make them something unique because the dialogue is so arch. 007 could easily have spouted the lines spoken by either Cary Grant or Eva Marie Saint. Mason is a forerunner for Dr. No and a dozen other masterminds who trade quips with the protagonist and make plans that in the end go awry.
Two major Hitchcock themes are fully exploited by this film. There is a cool blonde with the aura of danger surrounding her and there is the innocent man, caught up in a story wrongfully but effectively. Mild maneuvered mama's boy Roger Thornhill does not seem to be the type to be able to stand up to ruthless spies and killers but he turns out to be resourceful and charming enough to get halfway across the country to the climax of the film. His cleverness at escaping is demonstrated by his witty performance at a Chicago auction. The manner in which he thwarts the henchmen of the lead baddie is just the kind of thing that James Bond and Indiana Jones would specialize in later. Eva Marie Saint comes on like a locamotive which is appropriate given where she first meets Grant's Thornhill. Eve Kendall is a mystery wrapped in a most appealing package and dropping hints as to what is inside in the sexiest way possible.
Their exchanges while on the train to Chicago are worth the price of admission all on their own.
The two big set pieces of this movie are justifiably famous. The whole sequence with Grant out in the hinterlands of Iowa, waiting for a non-existent man to meet him in the middle of nowhere, is fascinating . From the time his bus drops him off to the moment the crop duster ends up as it does, there is basically only the sound of the fields and the infrequent traffic on the roads. Hitchcock doesn't have to sweeten the suspense with music at this point. Everything build tension by developing slowly and quietly. It is a far cry from the manner of most modern films which overdo it ninety percent of the time. The spectacular chase across the heads and faces of Mt. Rushmore however, are perfectly framed by the amazing Bernard Hermann theme from the film. When silence is required, the music pulls back to allow the menacing face of Martin Landau to move closer to our heroes and really frighten us.
Everywhere in the movie, Hitchcock and his collaborator , writer Ernest Lehman, have created little moments of character that provide humor for the story. Roger Thornhill is a befuddled man, but he is also a creative advertising executive who can toss off a quip as easily as most jingles of the day. He has lines to his secretary, the thugs who kidnap him and his love interest, that would be memorable if they were in a pure comedy. Lehman and Hitchcock put those bon mots in his mouth at just the right time for effect but never in the way that some of the lines made famous by action stars of the 80s dropped like a hammer. Subtlety is a gift that the makers of this piece of entertainment provide us in regular doses.
I own this Blu ray and have watched it a number of times, but as usual with film, the experience of seeing it in a theater with an audience just as captivated as you are is intangibly better. There is an extensive selection of films being provided by TCM and Fathom for the next few months. Maybe if you are lucky, you will find something as wonderful as this movie to fill your eyes and brain with.
