Tag Archives: Hollywood

I finally watched some Hitchcock…

As a shameless ‘film bro’ and an avid horror fan, I felt like it was my duty to experience the work of a man who is often regarded as one of the greatest filmmakers in history. I’m referring to, of course, the ‘master of suspense’ Alfred Hitchcock. I got hold of a boxset of four of his most highly regarded films; Rear Window (1954), Vertigo (1958), Psycho (1960), and The Birds (1963). I watched them over the course of a week with my dad in release order, and, since it was Hitchcock, I thought I would do what I do best with movies – get all my thoughts out on this blog. What did I think? Did I enjoy them? Do they still hold up 60+ years later? Do I finally understand why Hitchcock is regarded as one of the greatest filmmakers and as the ‘master of suspense’? Read on and I will leave you in suspense no more…

First up was Hitchcock’s 1954 murder mystery Rear Window. It follows photographer L.B. ‘Jeff’ Jeffries (James Stewart) as he is confined to his apartment by a broken leg, with nothing better to do than spy on the neighbours across his Greenwich village courtyard. His spying takes a turn when he begins to suspect one of the neighbours has murdered his wife, and so Jeff enlists the help of his girlfriend Lisa (Grace Kelly) and nurse Stella (Thelma Ritter) to solve the mystery. What impressed me about this film was that the story unfolded almost entirely through Jeff’s apartment window through the perspective of his binoculars. What made this even more impressive was the detail that was put into constructing the elaborate set for the courtyard. It took six weeks to build, complete with lighting to accommodate both day and night sequences, and even included a drainage system for one rain sequence in the film. It was apparently the largest set built at Paramount studios at the time. It has a slow start, as the film is set in the same apartment, with the same shots, centred around the same three characters, yet it somehow still immerses the viewer in the narrative. The film confines you to Jeff’s wheelchair as he attempts to solve the murder mystery which makes it all the more gripping, and the last 20 minutes especially tense. There are certain shots in this film that are haunting and will remain with me for a long time.

Next was Vertigo, which if made today, would almost certainly be directed by Christopher Nolan. It is arguably Hitchcock’s most technically ambitious film, as it uses some unconventional special effects and is the first film to use the dolly zoom (when a camera zooms into a subject whilst physically moving away, distorting the background). The film follows former detective John ‘Scottie’ Ferguson (James Stewart once again) who has been hired as a personal investigator by Gavin Elster (Tom Helmore) to follow Elster’s wife Madeleine (Kim Novak). The elaborate plot of the film hinges on Scottie’s extreme fear of heights that stemmed from a traumatic experience earlier in his career. Despite the name, it doesn’t portray the condition of vertigo, but the dolly zoom is used to good effect to represent Scottie’s fear of heights. The plot is interestingly constructed, and the way Scottie’s fear is portrayed and weaved in throughout is very Nolan-esque. There’s some exceptional camera work which sells Scottie’s condition, and there’s one particular dream sequence which is the pinnacle of 1950s movie effects, and appears rather out of pocket compared to the rest of the film. My main issue with this film is that it is the archetype slow burner. Granted, it’s of the time, but the pace remains the same up until the last 20 minutes. At which point there is a significant plot twist which somewhat pays off the rest of the film, but generally the pacing is something you’ll have to bear with to appreciate the film fully. Still, there’s some tense moments and I can understand why it receives the praise it does. I always find it hilarious how terribly awkward love making scenes are in old movies. The actors look as if they have been given strict direction to underplay the passion.

Next was not only Hitchcock’s most iconic film, but one of the most iconic films of all time. What can I say about 1960’s Psycho that hasn’t already been said? It stars Vera Miles as Marion Crane who ends up at the notorious Bates Motel, where manager Norman Bates (Anthony Perkins) seemingly cares for his housebound mother. What follows reset the genre for horror, suspense, and even gore. This was the slasher before slashers, simply because it’s more suspense than actual slashing. I have no doubt the gore in this film back then was the equivalent to Saw now. The difference is, the violence in this film hits harder not because of the violence itself, but the care that Hitchcock put into creating a suspenseful build up. The reason this film is so timeless is because of how simple yet effective horror filmmaking is. Something as simple as a slow camera pan or a musical cue can create gripping tension when well executed. Bernard Herrmann’s iconic score is perfectly chilling, and provided the cookie cutter for horror movie and suspenseful scores to come. Anthony Perkins was exceptional as Norman Bates, from his awkward mannerisms and stutter to that psychotic stare at the end. His performance is like something you’d see in a film today, which is exactly why it still holds up. Granted, this film has its slow and duller moments and some of the dialogue is rather stilted but it’s not enough to break up the experience. This film also has one of the most memorable and chilling ends to a film I’ve ever seen…that smile.

Finally came 1963’s The Birds. Having only just watched Psycho a few days prior, I couldn’t help but think it was more than a coincidence that Norman Bates had a fascination with taxidermy birds prior to Hitchcock making a film called ‘The Birds’. The Birds stars Tippi Hedren as socialite Melanie Daniels who meets lawyer Mitch Brenner (Rod Taylor). Tippi is apparently so infatuated by Mitch that she follows him to his hometown of Bodega Bay with some lovebirds in tow. What follows is an avian onslaught; hundreds of birds begin attacking the people of the sleepy coastal town. Apparently, Hitchcock told the writer to develop the characters and a more elaborate story whilst keeping the concept of the original short story it is based on. It really shows. The first half of this film is about an unconvincing romance which makes Melanie’s actions the first 10 minutes rather toe-curling. Meanwhile the ominous presence of the birds is drip fed throughout, until about halfway through when the real bird attacks go up a gear. The concept of birds being a threat to humans is an interesting one. Birds are everywhere and there’s nothing we could do to stop them relentlessly attacking us in droves. It’s classic Hitchcock to turn these creatures which we live alongside and take for granted into a demonic and malevolent presence, all without a musical score too. Given the time of release, I imagine the special effects were also exceptionally impressive. I understand the characters are meant to be self-indulgent in their own ways to justify them being attacked by birds, but most of the dialogue I found quite unconvincing and one-dimensional. The film suggested the lovebirds were a plot device which would connect to the bird attacks, but surprisingly no such connection was outright made. Perhaps this was left intentionally ambiguous and merely implied by Hitchcock, but as such, I wasn’t entirely sure whether to take this film seriously. Nonetheless, from a technological and horror standpoint I can see why this film broke new ground and I can appreciate it for that.

I would describe watching some of Hitchcock’s highlights as enjoyable, but also educational. It was interesting to see from where much of the horror and suspense of today’s cinema is derived, and to watch some of the staples of classic cinema from a transitional time between old and new Hollywood in the 1950s-60s. My dad and I also watched the 2014 biopic Hitchcock, which tells the story of Hitchcock’s relationship with his wife Alma Reville whilst filming Psycho. The film was enjoyable, mainly due to the performances of Anthony Hopkins and Helen Mirren. However, as  the film covered a a long period of Hitchcock’s career, it only really focuses on the key events. It felt rather like a service film for Hitchcock fans, which detracted from the depth it could have had, especially during the making of Psycho itself. Nonetheless, the portrayal of Hitchcock’s awkward relationship with his wife is fascinating, as are the general nods to Psycho. Hitchcock’s films are the reason cinema is timeless. As I’ve mentioned in previous reviews of historical films, it’s always rewarding to see how great writing, acting, and filmmaking holds up after over six decades. This provided further evidence that time is irrelevant to film quality. To me, watching films from over six decades ago isn’t just a source of escapism into the stories themselves; it is also intriguing how they reflect the times at which they were made. It’s inspirational to see how far cinema has come, and the impression that that ambitious Englishman from East London made on movies.

Image courtesy of The Independent

Quentin Tarantino’s novelisation of Once Upon a Time in Hollywood – A Review

Once Upon a Time in Hollywood is one of my favourite films. From the colourful visual textures which capture the retro aesthetic of 1960s film, to the captivating performances of its stars (Leonardo DiCaprio as actor Rick Dalton, Brad Pitt as stunt double Cliff Booth, and Margot Robbie as Sharon Tate). The film encapsulates 1960’s Hollywood, following the lives of Rick, Cliff and Sharon as they negotiate the rapidly changing film industry. Years before it’s release, the film was written as a novel by Tarantino, having not yet decided whether it would be turned into a screenplay. When I discovered Tarantino had followed up on this and published a novelisation of Hollywood, I was overjoyed. The novel mostly follows the events of the film, except with additional backstory, characters’ inner thoughts, and enough references to 1960’s film to satisfy the ultimate film buff.

Tarantino’s novelisation mostly follows a couple of days in the lives of the stars of the film in February 1969, but divulges into past and future backstories and other narratives between this time. The backstories broaden the personal lives and personalities of characters portrayed in the film, providing a more detailed feel of the film industry in 1969. These include real-life 60’s actors James Stacy, Aldo Ray, and Sharon Tate (the former portrayed by Timothy Olyphant in the film), but most noticeably stuntman Cliff Booth. Booth is portrayed as possibly the most laid-back yet no-nonsense guy in Hollywood. The book details his WWII history, describes in detail how many times he’s got away with murder, extensive detail on his passion for Japanese cinema and erotic cinema, and even explains how he obtained his faithful pit bull Brandy. In essence, Booth is portrayed as the coolest psychopath in 60s Hollywood. In contrast to his best friend and anxiety-ridden Rick Dalton, Booth is content with his career and has accepted the changes occurring in Hollywood at the turn of the decade; happy to enjoy himself and be Dalton’s go-to guy.

Most of Rick Dalton’s scenes in the novel are the same as the film, except in the novel Tarantino provides Dalton’s ongoing inner thoughts during these scenes. I always appreciate this in books, as it distinguishes between characters act and how they feel. Dalton is struggling to find his place in a film industry that is rapidly changing from the one he’s used to. Attempting to make a transition from his hit 50’s Western show Bounty Law to 60’s film, Dalton has a choice of acting in films he’s not comfortable with or fading into obscurity. As such, most of Dalton’s thoughts are rather cynical, often containing spiteful comments about those around him which reflect his discontent with the changing film industry. Despite this, Dalton is strangely likeable. He mostly keeps his cynical thoughts to himself, in an attempt to appease those around him to maintain himself in a good light and accept the changes. Dalton finds himself playing the antagonist on the set of real-life 60’s Western series Lancer, which Tarantino details the plot of in certain chapters. This was one of my favourite aspects of the novel, effectively providing a story within a story; a morally ambiguous Western revenge tale which modestly reflects the genre which defined the previous decades of film which came before it. The way Dalton goes from playing Western hero in the 50’s to Western villain in the 60’s captures the essence of what Once Upon a Time in Hollywood is about; the fading of the classic Western scene into a New Hollywood which deviates from the norms of so-called ‘golden age’ of Hollywood.

The novelisation of Once Upon a Time in Hollywood provides many of the components that made the film stand out. It is a celebration of a by-gone era of TV and film, and details how actors of the time navigated their careers through this changing time. As in the film, the novel doesn’t have much of a conventional plot, but simply details the events of the characters’ lives and by doing so absorbs the reader into the era. As such, those who didn’t enjoy the film probably wouldn’t enjoy the novel, but then it’s unlikely you’d be reading the novel if you haven’t seen the film! The novel allows Tarantino to flex his extensive knowledge of the history of Hollywood, packed with references to the most well-known 60’s flicks like how Rick Dalton was nearly cast in The Great Escape, to more obscure references to Japanese cinema with a list of Cliff Booth’s favourite films from Japanese director Akira Kurosawa. The era is not just captured in it’s film scene, but also in it’s music scene. In the film, Californian radio station KHJ is constantly playing whenever the characters are driving, and just like the film, the novel constantly reminds the reader which music track or ad is playing; from Paul Revere & The Raiders to Red Apple Cigarettes (‘Take a bite and feel alright!’). It is this level of detail that underpins why Once Upon a Time in Hollywood is regarded as Tarantino’s ‘Magnum Opus’, and the novelisation is the perfect accompaniment to this celebration of 1960’s Hollywood.