Alfred Hitchcock

alfred-hitchcock

I am endeavoring to review as many Alfred Hitchcock films as I can, so please be patient as the bodies pile up.

Hitchcock The Birds 02The Birds

I was thirteen years old in 1963 when I went to a movie theater to Alfred Hitchcock’s latest move, The Birds, and I can still remember the effect it had, the tension it engendered, the thrill of fright, and my jangled nerves when I left the theater and stepped out into the sunlight.


Dial_M_For_Murder_Grace KellyDial M for Murder

It might be easy to plan the perfect murder, but actually doing it is something else entirely.  That is the theme of Dial M for Murder, Alfred Hitchcock’s 1954 movie starring Ray Milland and Grace Kelly as a husband who has the perfect murder on his mind and the wife who seems to be the intended victim.


The Lady Vanishes (1938)The Lady Vanishes

Set in the fictitious European country of Bandrika, this 1938 British comedy-mystery  remains one of Alfred Hitchcock’s best movies.  Based on the 1936 novel The Wheel Spins by Ethel Lina White, the script by Sidney Gilliat and Frank Launder is truly funny, even the suspenseful parts.


Man Who Knew Too Much Stewart and DayThe Man Who Knew Too Much

Never endanger an American’s children.  That is the advice given by a foreign minister to his English lackey when it is already too late for the villains in this remake of a film that Alfred Hitchcock originally directed in England before he crossed the pond.  Wishing to enlarge and improve on his earlier film, he teamed up with his signature actor and composer to produce this widescreen thriller in 1956. 


Marne 01Marnie

Marnie is undoubtedly Alfred Hitchcock’s most unusual film.  There’s no murder, no spies, no sabotage, and practically no suspense.  It is a straight up psychological drama.


 mr and mrs smithMr. and Mrs. Smith

This 1941 “screwball comedy” was the first of two comedies that Alfred Hitchcock directed during his long and distinguished career, the other being the black comedy, “The Trouble with Harry.”  The script, by Academy Award winning screenwriter Norman Krasna, found its way to Carole Lombard, the actress who actually gave the name “screwball” to this kind of comedy, and she backed the project.


 North by Northwest - Saint on RushmoreNorth by Northwest

Mistaken identity, an innocent man, bloodthirsty spies, a long train trip, a beautiful, sexy blond, and suspense building to a nail-biting conclusion—all these staples of legendary director Alfred Hitchcock drive his epic 1959 film, North by Northwest.


Notorious 02Notorious

The sexiest and most mature of all Alfred Hitchcock’s films, Notorious is also one of his most suspenseful movies.  It’s a torchy love story set among dangerous ex-Nazis in Rio de Janeiro, with Ingrid Bergman putting her life in danger to prove to the American agent she loves that she has become an honest woman.  Beautifully shot in black and white, all of Hitchcock’s mastery drives a story that is thrilling right up to the end.


Psycho 1Psycho

The line between suspense and horror is blurred anyway, but when director Alfred Hitchcock and screen writer Joseph Stefano adapted master horror writer Robert Bloch’s 1959 novel Psycho for the screen, and composer Bernard Herrmann was brought on board, they changed the horror film genre forever, creating ripples that are still felt by filmmakers today.


Rear-Window-pic-2Rear Window

A nation of Peeping Toms.  That’s us, according to home care nurse Stella in Alfred Hitchcock’s 1954 masterpiece Rear Window.  She’s complaining to photographer James Stewart as he sits in his wheelchair staring out the rear window of his apartment in Greenwich Village.  His left leg is encased in a great white cast bearing the inscription, “Here lie the broken bones of L. B. Jefferies.”


To Catch a Thief 01To Catch a Thief

This is Alfred Hitchcock’s most visually beautiful movie.  Filmed on the French Riviera, the gorgeous hills, dotted with old mansions overlooking the Mediterranean Sea vie with the stark beauty of Grace Kelly and chiseled features of Cary Grant to provide enough eye candy to last a lifetime.


 Torn Curtain 3Torn Curtain

Alfred Hitchcock’s 1966 cold war thriller is unique among his films because it contains some of the best filmmaking since he moved to America and also some of the worst.  The film as a whole has too many problems to be considered one of his best: a flabby script, lenient editing, and way too much time at the end.  


Vertigo_1958_trailer_Kim_Novak_at_Golden_Gate_Bridge_Fort_PointVertigo

Acrophobia is a perfect psychological ploy for a Hitchcock movie.  Always fascinated with little psychological motivations, Hitchcock used fear of heights as the guiding principle of his 1958 movie Vertigo.  The plot, so detailed and involving, has become nearly iconic as the film has worked its way into the American psyche.

Torn Curtain

Torn Curtain 3Alfred Hitchcock’s 1966 cold war thriller is unique among his films because it contains some of the best filmmaking since he moved to America and also some of the worst.  I will discuss the plot in detail, so there will be spoilers.

American physicist Michael Armstrong (Paul Newman) arrives in Copenhagen with his fiancée, colleague Sarah Sherman (Julie Andrews) to attend a conference.  Receiving a call that a book is waiting for him at a local book store, she picks it up for him.  Taking it into a toilet at the hotel, he reads a secret message telling him to “Contact π.”  His behavior disturbs Sarah and when she discovers he has changed his plans and will be flying to Stockholm, she decides to follow him, but he isn’t going to Stockholm, he’s actually boarding a plane for East Germany.  In a state of shock, she watches as he defects, stating to the press that he was disappointed that the United States shut down his missile program and he plans to develop an anti-missile system in Leipzig with Professor Gustav Lindt (Ludwig Donath) that will end the threat of nuclear war.  They have been shadowed by Professor Karl Manfred (Günter Strack) who arranged the defection.

Michael is angry that Sarah has followed him and repeatedly tells her that she should go back home while she can, but the East German government asks her to stay and work as Michael’s assistant.  Despite her disillusionment, Sarah decides that she loves Michael enough to stay and support his work.  At the time of the interview, he is informed by East German Security that he has been assigned a security watchdog, Hermann Gromek (Wolfgang Kieling) who is to follow him around and watch his actions.

The next morning, Michael leaves the hotel and hops a bus.  Gromek follows him on his motorcycle to a museum where Michael tries to lose him.  Going out the back, he hails a cab and gives the driver an address.  At a farm outside Berlin, Michael has the cab wait while he meets an American agent (Mort Mills) who is under cover as a farmer.  It turns out that π is an escape network and Michael is going to attempt to get information from Professor Lindt that will aid the United States in their own anti-missile system.  Before he can leave, Gromek shows up.  Seeing the π symbol in the dirt where Michael had drawn it for the farmer’s wife (Carolyn Conwell), Gromek interrogates him.  As Gromek attempts to call the authorities, the farmer’s wife throws a pot at him and Michael attacks him.  As they fight, she stabs Gromek with a knife and they wrestle his head into an oven.  She turns on the gas and he dies.  Indicating that she will bury both Gromek and his motorcycle, Michael leaves.

In Leipzig, Michael is about to be debriefed for Professor Lindt when state security bursts in with the news that Gromek is missing, so they decide to debrief Sarah first, but when confronted with revealing American secrets, she can’t go through with it.  Speaking to her alone, Michael finally reveals to her that he is on a spy mission and gets her cooperation.  The cab driver (Peter Lorre, Jr.) sees the missing Gromek’s picture in the paper and comes forward, telling the police that he drove Michael to the farm.  When they arrive, the farmers are gone, so they commence digging and find the motorcycle 

After Michael gets the formula he is looking for, he and Sarah begin a convoluted escape route that includes assistance from a university clinic physician Dr. Koska (Gisela Fischer) and another man from π (David Opatoshu), eventually landing them back in East Berlin.  Their instructions call for them to go to a  post office and along the way the meet exiled Polish countess Kuchinska (Lila Kedrova) who wants them to sponsor her to the United States.  Their escape plan calls for them to go the ballet where state security hunts them down.  Michael’s only resort is to yell “Fire!”  During the ensuing chaos, they are taken backstage and put in ballet trunks for shipment to Sweden, the ballet’s next stop.  As the trunks are about to be offloaded, the lead ballerina (Tamara Toumanova) blows the whistle and a guard shoots up the trunks, but they are the wrong trunks.  Michael, Sarah, and their rescuer have jumped into the water and swim safely to shore.

Normally, Hitchcock’s scripts have been worked over for many months, if not years in advance of shooting.  In this case, the script by Brian Moore was not ready.  Both Hitchcock and Newman knew it and Hitch sought additional help with the dialogue, but the studio had foisted Julie Andrews on him as his leading lady and she had a very short window to film the movie, so they went ahead with a faulty script.  It did not help that longtime Hitchcock collaborators Robert Burks (cinematography) and George Tomasini (editing) had both passed away, so he was working with people he wasn’t completely certain of.  He also had a falling out with his longtime musical director, Bernard Herrmann, and even though Herrmann scored part of the film, Hitch fired him and had John Addison complete the work.

The second problem in the film is that the climax occurs when Michael finally gets the formula from Professor Lindt, but the film continues on for nearly forty-five minutes after that as the elaborate escape, done with Hitchcock’s usual sense of suspense, plays out.  It simply goes on too long and it should have been edited down to fifteen or twenty minutes tops.  It makes the movie drag exactly where you don’t want a movie to drag.  At two hours and eight minutes, the film feels like it goes on forever.

That being said, the movie also contains the best scene Hitchcock ever filmed: the killing of Wolfgang Kieling by Paul Newman and Carolyn Conwell. 

Although both Herrmann and Addison had written music to accompany the gritty scene, in the end Hitchcock opted to only use the natural sound of the three people in their life and death struggle.  We hear grunts, scuffling, and very little dialogue as the two men struggle with each other.  Hitchcock intercut the scene as montage, so the viewer gets glimpses of arms and hands, short close-ups of faces, and two-shots of the struggle.  Almost forgotten is Conwell’s terrific contribution to the scene.  They can’t make any loud noises because the cab driver is still waiting outside, so they can’t shoot him.  She tries to stab him, but in the struggle the knife only goes into his shoulder, the blade breaking off and blood soaking his shirt.  She takes a shovel and bangs his knees to make him go to the floor.  Kieling gets both of his hands around Newman’s neck and tries to choke him, but Conwell begins to drag them across the floor, her face sweaty and creased with the exertion.  In the final moments, Hitchcock shoots the scene from above the oven and we see Newman and Conwell gasping for air as Kieling’s hands go through the paroxysm of death, fighting against the gas and gradually giving in, eventually resting with no movement at all.  If feels like an absolutely real death.

The reactions of Newman and Conwell afterward is just as important. As they regain their breath, the viewer can see the emotional scars of the act of killing: the trembling, the sweat, the redness of their faces, the disbelief that they have just taken a man’s life. 

It is overpowering cinema. 

When I first saw this movie in a theater in 1966, that scene haunted me and I have never forgotten it.  I think it has a much greater impact than the shower killing in Psycho, which is generally considered Hitchcock’s best murder scene.

There are other wonderful things in the movie to delight film students and Hitchcock fans.  The scene in the museum, for example, where Hitchcock never shows Gromek following Michael, but we hear the echo of the pursuer’s footsteps.  The tension on the bus on the escape back to East Berlin is almost unbearable.

However, even with all of the wonderful techniques of Hitchcock at his best, the film as a whole has too many problems to be considered one of his best.  A flabby script, lenient editing, and way too much time at the end all work together to sink this movie.  In fact, in the canon of films that Hitchcock made in America, it must be considered one of his least successful.

Dragonflight by Anne McCaffrey

DragonflightThis first book of The Dragonriders of Pern saga began as two novellas, “Weyr Search,” which won the 1968 Hugo Award for Best Novella and “Dragonrider,” which won the Nebula Award for Best Novella in 1969, making author Anne McCaffrey the first woman to ever win either one of the prestigious science fiction writing awards.  Both of the short works were originally published in Analog magazine and they became the basis for the entire Dragonriders saga.

This is the only Dragonrider novel that focuses exclusively on the relationship between F’lar and Lessa and is noteworthy because it defines their feisty characters and the relationship that develops because of they are the two strongest people on Pern and the two whose strength must carry the planet in the 9th Pass of the Red Star.  Please see my Introduction to the World of Pern for background.

  Dragonflight is broken out into four parts with no chapters, although individuals scenes are separated by excerpts from Harper songs.

 I.  Weyr Search

Before the beginning of the 9th Pass of the Red Star to drop deadly threads on Pern, the power of the dragonriders has ebbed, the power of the Lords and their lands increased, and the Crafts have lost most of their knowledge to decaying record skins.  In the long interval, 400 years have passed and the people of Pern have all but forgotten the ravages of thread.

Of the six dragon weyrs on Pern, five stand empty with no explanation as to why, leaving Benden Weyr as the only active home of dragons and their riders.  The Weyrleader, R’gul, has led the weyr into isolation and allowed it to grow weak.  The Weyrwoman, Jora, grew fat and lazy, dying when her queen laid her last clutch of eggs.  There is one queen egg on the hatching grounds and riders have gone in Search of girls as candidates to be the new queen’s rider.

Lord Fax of High Reaches now runs six Holds, where each Lord should be entitled to only one.  He took the second oldest and most powerful Hold, Ruatha, by deception, then slaughtered everyone of pure Ruathan blood and married a woman who only was only distantly related, so that he could lay legitimate claim on it.  But one Ruathan of the true blood line has escaped, an eleven old girl, Lessa, with telepathic powers.

Ten Turns later, she is awakened at dawn by an unusual premonition that something is wrong.  Since Fax killed her family, she has disguised herself as a filthy kitchen drudge and used her telepathic abilities to bring the hold to economic ruin.  If Ruatha has no profit, she thinks, Fax might renounce it.  Her dreadful feeling echoes a similar feeling ten turns earlier on the morning of Fax’s invasion.  She watches the Red Star as it burns in the morning sky. 

Several days later, F’lar, a wing leader of Benden Weyr arrives on his huge bronze dragon Mnementh at High Reaches Hold with his wing-second and half-brother, F’nor, on his brown dragon Canth, on the Search for a new Weyrwoman.  Fax holds the dragonriders in contempt, but F’lar avoids a fight with him.  He and F’nor go to see a former dragonrider, Lytol, who has turned to the Weaver Craft to suffer silently.

Moving on to Ruatha Hold, the dragonmen immediately sense a power at work, but they can’t trace it.  Lessa has created havoc in the hold and Fax is disgusted, proclaiming that when the hold cannot support its Lord, he will renounce it.  F’lar and the dragonriders witness his statement.  He goes even further by proclaiming that if his wife, Lady Gemma, should give birth to a male, he would renounce the hold in favor of the baby.  When she goes into labor, Lessa fetches a midwife, but Gemma dies giving birth.  Thinking this is her opportunity force a duel between Fax and F’lar, she announces that the child is male.  F’lar is finally able to identify the source of power as Lessa, but Fax gives her a severe blow for her announcement.  The duel between Fax and F’lar ensues and F’lar kills the lord.

F’lar convinces Lessa that she must return to Benden Weyr and be presented as a candidate for the new queen, to renounce her claim to Ruatha in favor of the baby boy, so she reluctantly agrees.  The watchwher, seeing that she is leaving makes an attempt to kill F’lar, but when Lessa warns him not to, the watchwher contorts its body to keep from striking, breaks its back and dies.  The dragons all keen, giving the ugly beast a hero’s death.  Lytol is appointed Warder to the new heir, Jaxom.

Back at Benden Weyr, F’lar gives Lessa the bathing room while he takes Mnementh to feast on some of the stringy bucks kept in the pens for dragon food.  She washes all of the filth away and when he sees her again, her hair flows down to her waist.  She has a small body and is beautiful.  With no fear at all, she impresses the new queen, whose name is Ramoth.

II.  Dragonflight

Two Turns later, Lessa hates her lessons with R’gul and wants to fly Ramoth.  She fumes because F’lar does nothing, but when Ramoth finally rises to mate, Mnementh catches her and Lessa ends up bedding F’lar.  As the new Weyrleader, he takes command of the weyr.  When a united army of Lords marches against Benden, he sends riders to abduct their women, then he confronts the army, proclaiming that the Red Star is approaching and thread will fall soon.  He gives them orders to clean their Holds of greenery, to restock their fire heights, and to begin full tithing to the weyr.  To punctuate his demand, he shows them their ladies on dragonback and then Lessa shows up flying her great golden queen.

III.  Dust Fall

When F’lar teaches Lessa to fly Ramoth between, she turns rebellious and decides to go back to Ruatha, but she gives Ramoth the coordinates of the old Ruatha from when she was only 11 years old and she passes between back in time and watches herself hiding during Fax’s invasion.  She tries to go back home, but returns to the day at the beginning of novel when she awoke with her premonition.  Both F’lar and Lessa think that at some time the ability to time travel may come in handy.

In an attempt to figure out when the thread will begin to drop, F’lar and Lessa begin to go back over their old records, which have faded with the passage of time.  Ramoth lays a gigantic clutch of 41 eggs, which take as proof that the threads will be falling soon, but they worry about their ability to fight it, since they are only one weyr and there were six to fight it in the past.  Lessa worries over the Question Song, a weird teaching ballad that says the missing weyrs had “gone ahead.”

When the clutch is hatched, F’lar brings in family members of the candidates and begins to open up the hatchings to the public.  The one new queen, Prideth, is impressed by Kylara, one of the women who had previously been a candidate for Ramoth.  After a patrol, F’nor returns covered in dust and F’lar realizes that it is thread that has been killed by the cold.  The wing fights their first thread and many dragons and riders are wounded because they are all just learning the skill.  Worried about how to handle the situation, F’lar decides to send F’nor, Kylara, and other riders back ten Turns and put them in the south, where they can rear more dragons and riders.  Later that night, F’nor comes to see him to report that his plan is working, before he’d even started it.

IV.  The Cold Between

F’lar puts his plan into action, even though F’nor has hinted that things don’t go all that well in the past.  The next day, he holds a meeting with Lords and Craftmasters to see if anyone has any ideas on how they can get through the crisis.  For the first time, we meet Masterharper Robinton, Weavermaster Zurg, and Smithcraftmaster Fandarel.  Zurg remembers having seen a tapestry that showed not only dragons fighting thread, but men on the ground with machines that threw fire.  Fandarel wants to get his hands on it and when it is finally produced, he studies the machines and plans to use Agenothree to fight thread on the ground.

Studying the tapestry, Lessa sees that the depiction of Ruatha Hold is as it was 400 turns ago.  Using this as a time coordinate, she decides to jump Ramoth between 400 turns to bring the missing weyrs forward in time to help them fight thread.  When she disappears, F’lar is beside himself with worry.  Although she makes it through, the trip destroys her physically and she takes months to recover.  However, the old Fort Weyrleader, T’ton, and his Weyrwoman, Mardra decide to follow her forward in time and they talk the other five weyrs into coming with them.  Lessa instructs the oldtime Masterharper that he must write the Question Song, so that Lessa can later use it to realize that the she must go retrieve the weyrs.

Using the position of the Red Star to guide them, the weyrs jump ahead twenty turns at a time until they are back in present day, the beginning of the 9th Pass.  F’lar is incredibly relieved.  Pern has been saved and Lessa realizes how much he loves her and returns that love.  They are now weyrmates for life.

Thoughts on Dragonflight

As the first book in the series, Dragonflight has a different feel to it than all of the rest.  Writing it, from the two novellas, must have been a terrific learning experience for Anne McCaffrey because she was setting up—and would later change her mind on some things—the basis of the entire series.  There are a lot of little things that she changed as the series developed.  To name just a few:  T’ton is changed to T’ron immediately in the sequel, Dragonquest, and in Dragonflight, bronze dragons blood their kill before the queen does when she mates.  That was dropped entirely in all future books.

We don’t meet Robinton and Fandarel until fairly late in the novel and even then they do not appear to have the significance that they would develop almost immediately in the second novel and which would develop immensely throughout the entire main timeline of the 9th Pass..

The first time I sat down with Dragonflight, I thought I was reading a fantasy and I was ready at any moment to put the book down, but McCaffrey lays all of the groundwork in a scientific or pseudo-scientific manner.  The planet was colonized.  The dragons were genetically engineered.  There is a scientific rationale for the dragons breathing fire.  The medieval society is the result of a more erudite society breaking down in times of crisis.  Everything is set up scrupulously as a science fiction based novel.

Even with all of the groundbreaking, the book remains mostly the love story of F’lar and Lessa and it is told very well.  Both of the characters have extremely strong personalities that uniquely suit them to be the leaders of Pern and bring it back from the brink of feudalism.  Although the sex that occurs when dragons mate is certainly not lovemaking in the purest sense, it leads to lovemaking.  It is a physical act, but that act alone draws the people closer to love.  F’lar states at one point that his lovemaking with Lessa is just one step short of rape, but her mutual concern for Pern, her care for him as Weyrleader, brings her to love him deeply and passionately.

Much of that simple relationship is present in the later books, but they more deeply concerned with the weyr and the planet as a whole.  Different characters take the main stage as the series progresses and F’lar and Lessa, although clearly remaining strong and powerful leaders, are superceded by the stories of F’nor and Brekke, Robinton, Menolly, Piemer, and ultimately Jaxom and F’lesson.  The interplay between crafts, the discovery of the original landing, all play a part in moving F’lar and Lessa to the back shelf.

This book is their love story and that will always make it special.

Elizabethtown

 

ElizabethtownIf ever there was a candidate for a movie that needed a Second Look, it is the 2005 Cameron Crowe romantic comedy-drama, Elizabethtown.  Crowe wrote and directed the film, which features music by his wife, Nancy Wilson, one-half of the musical duo Heart.

Drew Baylor (Orlando Bloom) is a rising young star in a world-beating athletic shoe company in Oregon (think Nike) working for a man named Phil (Alec Baldwin).  He has designed what the company has hyped as the next great shoe, Späsmotica, but just before it is released, the reviews start tumbling in and it turns out that it is the biggest turkey ever put out by the prestigious firm, doomed to loose the company close to a billion dollars.  He has to say goodbye to his job and his girlfriend Ellen (Jessica Biel).

When he gets home, Drew rigs his exercycle with a knife in an effort to kill himself, but before he can actually do the deed, his sister, Heather (Judy Greer) calls him to inform him that their father, Mitch (Tim Devitt) has died and that he must go to Elizabethtown, Kentucky, his father’s home town, to cremate the body so that he can bring the ashes back to Oregon.  As they talk, their mother, Hollie (Susan Sarandon) is freaking out trying to cook.  On the flight, he meets offbeat, perky flight attendant Claire Colburn (Kirsten Dunst) and they have an immediate affinity for each other.  She gives him directions on how to get from Louisville to Elizabethtown and gives him her phone number.

After arriving, his cousin, Jessie (Paul Schneider), a former member of country-rock band called Ruckus, greets him and re-introduces him to his dad’s friends and family, including Uncle Dave (Loudon Wainwright III) and Aunt Dora (Paula Deen).  They had planned on a burial in Elizabethtown and are completely against cremation.  He checks into his Louisville hotel and finds him in the middle of gigantic wedding party, “Chuck and Cindy: The Wedding.”  He tries to call Heather, Ellen, and Claire with no luck, then Heather calls him and tells him he needs to return at once to deal with Hollie, who is still freaking out.  Ellen calls him to break up and finally he gets on the line with Claire who is just returning home.  They begin a conversation that lasts all night long, discovering more and more how much they like each other and they finally meet half-way to watch the sun rise together.  They spend the day together and shop for his father’s urn.  Along the way, Drew becomes friends with Chuck and Claire practically joins the wedding party.

With so much going on around him, Drew just doesn’t have either the time or the inclination to grieve for his father’s loss, but he does keep revisiting the man in the form of flashbacks to his childhood.  At one point, Drew is ready to call off the cremation, but it is too late.  The deep has been done, so he collects the urn.  Claire shows up at his hotel again and they finally consummate their relationship, but the next morning, she prepares to leave.  Drew catches her in the hotel parking lot and explains about his monumental failure with the shoe company.  To her credit, Claire doesn’t care, but there is still something that keeps her from committing to him.  She explains several times that both of them are stand-ins, one side of an incomplete relationship and that this role is one they have to play.

As romantic comedies go, this is a very smart one, always entertaining, and deeper than it probably should be.  Crowe is an excellent screen writer and he really knows how to tell a story.  His characters get under your skin and you can’t help but root for them to have success.  Both Drew and Claire are extremely well-written and their romance is something that feels very special, maybe as special as Chuck and Cindy?  Could be.

However, even with such a great script and excellent director on hand, the movie could have easily failed—and nearly did.  The first actor cast as Drew, Ashton Kutcher, apparently had no chemistry at all with Dunst and was replaced after filming had started with Bloom.  It was a brilliant decision because the character of Drew must carry the film and Bloom is extraordinary in the role.  I don’t often rave about young actors suddenly fulfilling their promise, but Orlando Bloom is so engaging, both in the comedy and in the drama, that it is pretty much impossible not to like him and pull for him.  Dunst gives one of the best performances of her career and the worldly, carefree Claire, someone that every guy I know would love to meet.

I always love seeing Susan Sarandon in any movie she does and she is great once again as Drew’s mother Hollie, bringing a careless wonder to a woman trying to cope with the loss of beloved husband.  As if that wasn’t enough, the ensemble cast is terrific.  Paul Scheider is great as cousin Jessie, Bruce McGill is hilarious as Bill Banyan, and both Deen and Wainwright are wonderful in their cameos.

One staple of any Cameron Crowe film is great music and Nancy Wilson has obliged us with a big catalogue of mix and fill music, as well as her own film score that compliments the action and the mix music perfectly.

The end of the film is quite something and I find that I can watch Drew’s trip cross-country back to Oregon again and again for the footage of the great central United States.  And I love that Mitch’s final resting place isn’t one place, but rather an entire country.  I can’t help wishing that I had a son like Drew to help distribute me between Lincoln, Nebraska, Santa Fe, New Mexico, and San Francisco, California. 

What a way to go!

Calendar Girls

Calendar-Girls-001Even though the cinema is full of buddy movies and mindless stupid comedies, the joy of friendship, through good times and bad, isn’t celebrated enough in film, yet it is the heart and soul of this wonderful 2003 British comedy-drama.

A group of older friends in the small Yorkshire town of Knapely are members of the local Women’s Institute (WI), an organization dedicated to the advancement of women.  Every week, they attend lectures on various mundane topics and take place in the competitions for sewing and baking.  Chris (Helen Mirrin) is a buddy of Annie (Julie Walters) and she delights in making fun of these inane little events and the yearly calendar the WI puts out with pictures of flowers or bridges.  She helps her husband, Rod (Ciarán Hinds) run the local florist shop and they are raising a teenage son, Jem (John-Paul Macleod).  They decide to ask Annie’s husband, John (John Alderton), a connoisseur of flowers who works for the national park, to give a talk at the WI, but he reveals that he has cancer (leukemia).  Although he writes a lovely speech, comparing the women of Yorkshire to flowers, he dies before he can give it and Chris ends up reading it instead.  The combination of this writing and a the presence of a nude calendar at the local bicycle repair shop gives her the idea to do a nude WI calendar to raise money to replace the sofa in the family waiting room of the cancer wing at the local hospital.  She recruits Annie and their friends in the WI as models.

After many trials (including setting up a photoshoot with a trusted photographer, swilling a little wine to grease their courage, going through with the shoot, each getting naked, and somehow convincing the WI to go along with their idea), the calendar is finally released.  Not only is it a resounding success locally, but the British press pick up the story and the little town is beset with photographers and journalists.  Rod is a little put off by all the press and Jem is embarrassed that his mother has appeared naked in a calendar, but Hollywood calls and six of the women set off for Tinseltown to do an interview with Jay Leno.

With all of the exposure, Chris’s friendship with Annie is sorely tested and the two women must decide for themselves what is truly important in their lives.

Based on a true story, the screenplay by Tim Firth and Juliette Towhidi is truly funny, not at the expense of these middle-aged (or older) women who make a nude calendar, but in respect to the strain on family and friendship that such celebrity creates.  It treats the drama very tenderly, with respect and restraint.  The direction by Nigel Cole is so cozy and kindly it creates a sense of warm familiarity that draws the viewer inside the story.

The performances are uniformly beautiful.  Helen Mirrin and Julie Walters create true, believable, and very warm characters, so real that we wish we actually knew them.  The other women are all great, especially Linda Bassett as Cora, the piano player, and Penelope Wilton as Ruth, a woman whose husband has gone wandering.  Ciarán Hinds and John Alderton are both terrific as the understanding husbands.

The nudity is very brief, mostly suggested, and very tastefully done.  In a story about friendship, it may be the driving plot device, but it certainly isn’t what the movie is about.

This is a wonderful film that I am happy to recommend to everyone.

Edge of Tomorrow

Edge of TomorrowUsing the same plot device as Harold Ramis’s temporal breakthrough script Groundhog Day, Edge of Tomorrow gives a more plausible rationale for a person living the same day over and over again, but couches the story in a science fiction action adventure format.

Sometime in the future, a meteor crashes into earth, unleashing a vicious alien fighting force.  These creatures, which look like a cross between an octopus and the creature from Alien, immediately take over most of Europe and then are stopped by the human allies, the United Defense Force (UDF).  The public relations spokesperson for the UDF, Major William Cage (Tom Cruise) announces that the forces have been halted at Verdun by a female soldier using a new fighting machine, Sergeant Rita Vrataski (Emily Blunt).

When ordered to report to the commanding officer of the allied invasion force, British General Brigham (Brendan Gleeson), Cage finds himself ordered to report to the front lines to cover the invasion.  A coward at heart, Cage tries to finagle a way to get out of it and finally resorts to blackmailing the General.  Brigham will have no part of it and orders Cage arrested.  He wakes up the next morning at Heathrow Airport.  He has been busted down to the rank of Private, branded a deserter, and assigned to Master Sergeant Farell (Bill Paxton).  He is marched to his new unit, J Company, a bunch of stupid soldiers dumber than any unit ever depicted in film history (and that’s saying quite a bit, actually).  The next day, he is strapped into his fighting machine and the soldiers are flown to Normandy.

Before the drop, they come under attack and the plane is shot down.  Dropping onto the beach, Cage is truly lost in a masscre.  He is attacked by an alien who is a bit larger than the others and of a bluish color.  Later, this creature will be identified as an “Alpha.”  He is killed by the Alpha and wakes up back at Heathrow, living the same day over.  He tries to convince the others that they are heading to a massacre, but no one will listen.  He is killed and the day resets.  This action prompted the advertising slogan, “Live. Die. Repeat.”  As the days go by, he learns more from each day’s events and finally meets Rita on the field of battle.  She watches him going through a very precise series of motions designed to keep him alive and she tells him, “Find me when you wake up tomorrow.”

This begins a new series of days where he gradually figures out how to find her at Heathrow.  Explaining the situation to her, she takes him down to a basement where Dr. Carter (Noah Taylor), a scientist in the guise of a worker reveals that the aliens are all linked to an Omega that controls them all, but that the Alphas control the time loop.  Rita had previously ran into an Alpha at Verdun and she went through the same process of living a day over and over again until she was badly hurt and they replaced her blood—that is what broke the time loop.  They know that eventually the looper will begin to dream about where the omega is and that his how they will eventually find and kill it.

Rita begins to train him to prepare for battle and they live the same day over and over many times as he begins to perfect how to find the Omega.  He dreams of a dam in Germany where the Omega is hiding and so they hatch a plan to get there.  Every day, of course, he has to re-educate Rita, Carter, and his squadron as to what is going on.  At one point, he and Rita make it pretty far, holding out at a farm house, but he tells her that this is the point where she dies and if he is actually going to kill the Omega, he doesn’t want her dead.  The next time he relives the day, he goes alone and makes it all the way to the dam, but the Omega isn’t there.  Instead, he finds an ambush and is killed again.

Carter has a device that he thinks will allow them to tap into the aliens and find out the real hiding place of the Omega, but part of his equipment has been confiscated by General Brigham.  This begins another series of days where Cage must figure out how to get to the general and convince the man to give him the equipment.  When he does so, he taps into the alien part of his blood and discovers that the Omega is actually hiding underneath the Louvre, but he is injured during the escape and wakes up in the hospital getting fresh blood.

His day will no longer reset and he will only have one chance to take out the Omega.

There are a lot of really good things in this movie. 

Based on the 2004 Japanese novel All You Need Is Kill by Hiroshi Sakurazaka, the screenplay went through a large number of writers to achieve its final form.  As directed by Doug Liman, this film really moves fast.  The trick in these time loop movies is getting the audience to quickly figure out that the same day is being lived over and over again so that each day can move ahead in plot and not get bogged down in too much repetition.  The film copies the techniques used in Groundhog Day to extremely good effect and it moves like a bat out of hell.  It uses a lot of humor to provide relief from the many violent scenes of warfare and it does so very effectively.  The fighting machines used by the soldiers remind me a lot of machines conceived of by Robert A Heinlein in his novel Starship Troopers, a terrific concept that wasn’t actually used in the movie based on Heinlein’s work.  The aliens are extremely well designed and executed.

This movie is a lot of fun to watch!

In addition to all the technical wizardry, the acting is surprisingly good.  Emily Blunt is always great and she really comes through brilliantly in this movie.  Tom Cruise begins as his usually dislikable self, but as the film goes on he gains considerable traction and ends up with a really fine performance.  I liked him for once!

But the best acting job by far is accomplished by Bill Paxton.  I didn’t even know he was in the movie until the credits rolled at the end and then I was stunned because I didn’t recognize him at all.  It is one of those breakthrough acting jobs like Cameron Diaz in Being John Malkovich or Christian Slater in The Figher.

Overall, I think most audiences will enjoy this movie regardless of some of the extremely violent scenes.  The comedy carries well and the film moves so quickly along that it all adds up to more than the sum of its parts.  Quick, fun entertainment.

An Introduction to the World of Pern

Anne McCaffrey’s Dragonriders of Pern Saga

Pern 01

At first glance, one might assume that the Dragonriders of Pern story is fantasy, not science fiction, but Anne McCaffrey has moved the fantastic concept of fire-breathing dragons onto a firm scientific basis.  Granted, it is far from hard science fiction, but even such devices as faster than light travel and telepathy have some science fiction traction.  There is no magic in the series, nor mythical creatures come to life.  It must be considered science fiction. 

The planet Pern exists somewhere in the Sagittarius arm of our spiral galaxy.  It was originally colonized by members of the Federation who were looking to establish a society based on agrarian ideals.  Pern, devoid of the rich metals that were much sought after by the Federation was deemed a perfect spot for such a colony.  The survey team noted that the system of the star named Rukbat had one wandering planet (the “Red Star”) that didn’t follow a normal orbit, but it was not deemed a threat.  However, the early colonists discovered that when it passed too close to Pern, some kind of ovoid life form was cast off from the planet and traveled the distance between the two bodies, turning from hard spheres into vibrant, life eating “threads” when they entered Pern’s atmosphere.

To fight thread, the colonists genetically altered a unique indigenous life form, the “fire lizard” (a small, winged, telepathic creature who chews firestone to breath flames) into a much larger creature: a dragon.  When these creatures hatch from eggs, they bond telepathically with a human who is destined to be their rider.  These dragons and their riders fly high and fast to char thread from the sky and keep it from devouring all of the biological life on Pern.  The fire they belch comes from eating firestone, which ignites when the gasses come into contact with the air.  Dragons can also teleport, traveling into a realm called between, a cold, dark, airless, and sensationless place between one location and another.

McCaffrey has written a number of prequels, including Dragonsdawn, which tells the story of Admiral Paul Benden, Governor Emily Boll, and the other valiant colonists who had to fight thread, Moreta: Dragonlady of Pern, and The Masterharper of Pern, but the Saga officially begins with the first novel of the Dragonriders of Pern trilogy, Dragonflight.

The dragonriders and their beasts are normally housed in gigantic structures of caves, called “weyrs.”  There are six weyrs (Fort, High Reaches, Ista, Igen, Telgar, and Benden) placed at various distances around the northern continent of Pern, but for some unknown reason five are vacant when Dragonflight begins and only one weyr, Benden Weyr, remains to protect the planet.  Later on, a Southern Weyr is established on the Southern continent.

There are five colors of dragons.  From the largest to the smallest, they are:

Gold (queens, female, always bonded with a human female, a weyrwoman)

Bronze (male, always bonded to male riders, they are the only dragons who can mate with the queens)

Brown (male, always bonded to male riders, they mate with greens)

Green (female, always bonded to a male rider, they mate with all male dragons)

Blue (male, always bonded to male riders, they mate with greens).

When a queen dragon mates with a bronze, she first bloods her kill then flies high as the bronze dragons chase her.  The bronze riders assemble around the queen’s rider and when a bronze dragon finally “flies the queen,” mating with her, the bronze rider also mates with the queen’s rider.  The leaders of a weyr are determined by senior queen, whose rider is the Weyrwoman, and the bronze who flies her, whose rider becomes the Weyr Leader.

Although these heterosexual relationships are the norm, the level of homosexuality or bisexuality among riders is extremely high, due to the fact that female green dragons are bonded with male riders and when they mate with a male dragon, the riders also mate.  This loose sexuality makes the weyr a  social unit distinct from the rest of Pern.

Over 2,500 years have passed since the original colonization and humans have lost their memories and records of the past.  They have descended into a feudal state, residing exclusively on the northern continent, where individual political units are called Holds, each governed by a Lord Holder, and most of the skilled occupations are called the Crafts, each governed by a Master.


Major Holds, governed by a Lord Holder.

Far West:

            Tillek, High Reaches

Mountainous Area West:

            Crom, Nabol, Ruatha, Fort, Southern Boll

Moutainous Area East:

            Telgar, Lemos, Igen

 

the_northern_continent_of_pern__labeled__by_oracle_the-d5jkkk9

Map of Pern

Island:

            Ista

Far East:

            Bitra, Benden, Keroon, Nerat

The Major Crafts, governed by a Craft Master

Harper, Smith, Miner, Weaver, Tanner, Herds, Farmer, Forest, Healer

Other crafts are created as needed, including study of the Stars, Printing, and Wood crafts.

Normally, the planet goes through a 250 year cycle with the Red Star; the threads appear every two hundred years, then the pass lasts fifty years, but at the beginning of Dragonflight, the erratic orbit of the Red Star has missed one pass so four hundred years have passed since the last thread incursion.  This has led the people to believe that there will be no more threads.  Many of them have stopped giving their tithes to the weyrs and dragonriders have fallen into disrepute.

The normal rule is one hold to one holder, but a greedy warrior, Lord Fax of the High Reaches, has taken over a number of holds when the saga begins, including the historically rich Ruatha Hold.  In a surprise attack, he killed every member of the Ruathan bloodline, except for one, a girl named Lessa.  When F’lar, a virile young dragonrider from Benden comes in search of a rider for the new queen about to be hatched, he must confront Fax in order to get to Lessa.

CHRONILOGICAL ORDER OF STORIES

The following chronological order of the story only lists the books in the main series as written by Anne McCaffrey.  A second series of books, written by Anne McCaffrey and Todd McCaffrey cover the period of time after the first Thread incursion.

MAIN STORIES

“Survey: PERN” a short story included in The Chronicles of Pern: First Fall.  This story details the original Federation survey of the planet.


dragonsdawnDragonsdawn, the story of the original colonization of Pern.


“The Dolphin’s Bell,” a short story about the evacuation of the Southern Continent, included in The Chronicles of Pern: First Fall.


“The Ford of Red Hanrahan,” a short story about the creation of Ruatha Hold, included in The Chronicles of Pern: First Fall.


“The Second Weyr,” a short story about the founding of Benden Weyr, included in The Chronicles of Pern: First Fall.


“Rescue Run,” a short story about a Federation ship that responded to the call for help issued by rebellious colonists, included in The Chronicles of Pern: First Fall.


“Ever the Twain,” a short story from A Gift of Dragons.


Moreta, Dragonlady of Pern, the story of “Moreta’s Ride,” the ballad that is frequently cited by harpers and plays a major role in Dragonsinger.


Nerilka’s Story, a novella that occurs sometime during the Moreta tale.


The Masterharper of Pern, the story of Petiron and his son Robinton, both Masterharpers of Pern.


“Runner of Pern,” a short story from A Gift of Dragons.


THE DRAGONRIDERS OF PERN TRILOGY

DragonflightDragonflight, the story of how Lessa and F’lar came together to unite Pern and bring the five lost weyrs forward in time to fight Thread after the four hundred year interval before the 9th Pass of the Red Star.


Pern 01Dragonquest, the story of how F’lar and Lessa united the weyrs, how F’nor went between to investigate the Red Star, and how they opened the Southern Continent.


White DragonThe White Dragon, the story of how Jaxom became both a dragonrider and the Lord of Ruatha Hold and how he courted and won Sharra.  It also tells the story of how the Oldtimers were ultimately defeated and the Southern Continent retaken.  Jaxom discovers the site of the original colonial landing.


THE HARPER HALL OF PERN TRILOGY


The first two novels of this trilogy occur during Dragonquest, the second novel of the first trilogy.  The third novel begins before and then overlaps The White Dragon.

McCaffrey DragonsongDragonsong, the story of how Menolly escaped her abusive father and mother at Half Circle Sea Hold, how she impressed her nine fire lizards, and ended up at the Harper Hall.


DragonsingerDragonsinger, the story of how Menolly became a Journeywoman of the Harper Hall.


dragon-drums-det_0Dragondrums, the story of how Piemer got himself a gold fire lizard and permanent became a part of the Southern Continent.


OTHER STORIES IN THE TIMELINE


 

“The Smallest Dragonboy,” a short story included in A Gift of Dragons.


 

“The Girl Who Heard Dragons,” a short story included in A Gift of Dragons.


 

Another novel overlaps the entire time period of the two trilogies:

Renegades of PernRenegades of Pern, the story of Holdless Thella and her attempts to kill the girl who heard dragons.  This novel also dovetails with the end of The White Dragon and contains important information about the relationship of Piemer and Jancis. 


All the Weyrs of PernAll the Weyrs of Pern tells the story of the intelligent computer, AIVAS, who helps the people of Pern finally defeat the Red Star.


The Dolphins of Pern.


Skies of Pern Les EdwardsThe Skies of Pern, the story of F’lessan, son of F’lar and Lessa and his love for Tai, the Green Rider, this book also explains what the dragonriders will do now that there will no longer be Thread for them to fight.

Psycho

Psycho 1The line between suspense and horror is blurred anyway, but when director Alfred Hitchcock and screen writer Joseph Stefano adapted master horror writer Robert Bloch’s 1959 novel Psycho for the screen, and composer Bernard Herrmann was brought on board, they changed the horror film genre forever, creating ripples that are still felt by filmmakers today.

It began when Hitchcock read Bloch’s novel on a flight to England.  He immediately decided it would be his follow-up to the blockbuster North by Northwest and that it would be a stark departure from his acknowledged style.  Noting the success of low budget black and white horror films, he wondered what would be the effect if such a film was made by someone who really understood the cinema.  The first writer called in wrote a boring script that he immediately rejected, instead bringing in young Joseph Stefano to craft a completely original screenplay that was based only marginally on the book.  Stefano was in therapy at the time and they decided to center the film in a young man who was patently, homicidally, crazy. 

This movie is so well-known that I will discuss the entire plot in detail.

They decided to begin the movie from the point of view of Marion Crane (Janet Leigh), a Phoenix girl in her late twenties in a serious relationship with a man named Sam Loomis (John Gavin), a hardware store manager from a mid-sized Northern California town named Fairvale.  Caught in a situation of having to pay alimony to his ex-wife, Sam believes that marriage is impossible until he can get out of his financial crisis. 

Psycho 3In the first scene, in a Phoenix hotel room, we see Marion wearing a white bra and slip and Sam naked from the waist up.  They have just finished making love and discuss their situation.  Marion goes back to the real estate office where she works and finds that a client is giving them $40,000 in cash to hold for a purchase.  However, instead of taking the money to the bank, she goes home, packs, gets in her car and sets out for Fairvale, thinking that they money will give them the fresh start they need.

Along the way, she is menaced by a highway patrolman, ominous in his dark glasses.  She trades in her car and spends $700 of the money for a new one with California plates.  She drives into a thunderstorm and pulls over at the Bates Motel, a lonely spot on an old highway, with a mansion on the hill behind it and meets the proprietor, Norman Bates (Anthony Perkins).  A quirky, nervous young man, he volunteers to share his dinner with her.  In the back room of the motel office, surrounded by the stuffed birds that Norman works on as his hobby, she encourages him to leave and find a life for himself, but he protests that he is the only one who can take care of his mother, an invalid, who sometimes goes “a little crazy.”  As they talk, Marion realizes that she can’t solve her problems by running away and decides to return to Phoenix.  She has enough in her bank account to make up for the $700 she has already spent.

Norman watches her from a peephole as she undresses to take a shower.  As she scrubs herself, a fuzzy figure appears behind the shower curtain.  It is Norman’s mother and she mercilessly stabs Marion until she is dead.  Norman, seeing the blood on his mother, runs to motel room.  To cover up the crime, he cleans the room, moves the body into the trunk of Marion’s car (along with, unknowingly, the $39,300 remaining of the theft), and disposes of them all in a nearby swampy lake.

The next day, Marion’s sister Lila (Vera Miles) arrives in Fairvale, thinking that Marion must have taken the money to join Sam, but he has no idea where Marion might be.  A private investigator, Milton Arbogast (Martin Balsam) shows up also looking for Marion.  Grudgingly accepting that Lila and Sam really don’t know where she is, he begins to check every hotel and motel in Fairvale with no luck.  However, at the Bates Motel, he catches Norman in several lies and decides that he will need to interview Norman’s mother.  When Norman refuses, Arbogast leaves and calls Lila and Sam from a public phone to tell them that he’s going to go back to the Bates Motel to interview the invalid mother.

Returning to the motel, Arbogast watches Norman head to one of the rooms to work and then goes to the mansion to interview his mother.  At the top of the stairs, however, she rushes from her room and stabs Arbogast to death.  After disposing of this second body, Norman puts his mother in the fruit cellar because he’s afraid that more people will come to investigate, even though she loudly protests the action.

Lila and Sam try to get the local sheriff, Al Chambers (John McIntire) involved, but he tells them that Mrs. Bates has been dead for more than ten years.  She apparently poisoned her lover and then herself in a murder-suicide.  When Lila tells him that Arbogast claimed she was still alive, the sheriff wonders who it was they buried ten years earlier.

Without any significant action by the sheriff, Lila gets Sam to join her in their own investigation of the Bates Motel.  They check in, then Sam keeps Norman busy in conversation while Lila goes up to the mansion to try to find Mrs. Bates, but Sam thinks that Norman has stolen the money and gets Norman all worked up to the point where Norman bashes him in the head and runs to the mansion to find Lila.  Upstairs in Mrs. Bates’ bedroom, Lila notices that the bed has been permanently indented in the form of a body.  As she’s getting ready to leave, she sees Norman running for the house, so she ducks down the stairs toward the root cellar.  Curious, she goes all the way down and sees Mrs. Bates sitting in a chair.  She touches the woman on the shoulder and when the body swings around, the mummified skull of the old woman stares at her.  She screams, then the old woman appears in the doorway with a butcher knife, but before she can attack Lila, Sam shows up and wrestles her to the floor.  As she falls, a wig comes off her head and we see that “she” is actually Norman dressed up in his mother’s clothing.  All this time, he as been impersonating her, even going so far as to use her voice in conversations with himself.

Psycho 2Much of the psychology of Norman’s dual personality is revealed by a psychiatrist, Dr. Fred Richmond (Simon Oakland) at the jail who also tells them that the Mother has now taken full control of Norman’s body and that he will probably never be himself again.  We see Norman, right near the end, sitting in the jail, with a voice-over of his mother talking.  He sees a fly on his fingers and she says, “I wouldn’t even harm a fly,” as Norman grins maniacally.  The final shot is over the car being pulled from the swamp.

Eschewing the big budget color films of the day, he made the movie using his television crew, only relying on the skills of longtime collaborators George Tomasini for the editing and Bernard Herrmann for the score.  Probably the major breakthrough of the film was in building up the character of Marion Crane, getting the audience completely on her side, then killing her off barely 45 minutes into the movie, but there were other major departures from standardized cinema as well.  Showing her in a brassiere, lying in bed with Sam was extremely risqué for the time.  Hitchcock later had her in a black brassiere and slip, after she had stolen the money.  This was amazingly the first movie ever to show a toilet.  When Marion rips up her notes about the money, she flushes them down the toilet.

Joseph Stefano thought they were going to have a great film, but when he watched the rough cut, he became very depressed because it just didn’t look like it was going to work.  Hitchcock spoke to him very kindly.  “It’s just a rough cut, dear boy” he said.  The reason Hitchcock knew it was going to work was that the score was missing.

Although Bernard Herrmann wrote many great film scores for Hitchcock and other directors, the music for Psycho is by far his best and most effective composing.  In the history of cinema, there may never be a better match of action and score than the contribution of Herrmann to Psycho.  Very early in the process of composing the music, Herrmann made one critical decision—to use only strings in his composition.  The intense use of violins, cellos, and basses gives the action a depth that is astounding.  Most people remember the shower scene, but throughout the film, the music flies and dances, going dead silent at times, and pulsing organically at others.

The shower scene changed the American understanding of montage.  Shot over seven days, using 70 separate set-ups, the scene is a masterpiece of modern editing.  Some shots only appear for a few frames.  Hitchcock worked with Tomasini to put together an absolute tour-de-force in which it appears that Marion is hacked to death, without ever showing a knife piercing skin, without ever showing a bared breast.  In her book about the making of the film, Janet Leigh said that part of Hitchcock’s mastery was in allowing the audience to fill in the gaps.  By jumping all around in scenes that sometimes lasted less than a second, he created the illusion of the murder and allowed the minds of the audience to fill in the gaps.

Although the music and the editing contributed greatly to the success of the scene, what really set it apart was that it came so unexpectedly.  Never before had a director spent so much film time drawing the audience to a character only to have her viciously dispatched in a scene that lasts less than two minutes.

A case can certainly be made that Psycho is Hitchcock’s masterpiece, but a case can also be made for many of Hitchcock’s movies.  What is beyond debate is that Psycho changed the course of horror movies forever.

Vertigo

Vertigo_1958_trailer_Kim_Novak_at_Golden_Gate_Bridge_Fort_PointAcrophobia is a perfect psychological ploy for a Hitchcock movie. Always fascinated with little psychological motivations, Hitchcock used fear of heights as the guiding principle of his 1958 movie Vertigo.  The plot, so detailed and involving, has become nearly iconic as the film has worked its way into the American psyche.  It will be discussed in some detail in this review, so if you haven’t seen the movie, please beware.

The film begins with a rooftop chase scene in San Francisco. A uniformed cop is chasing some criminal with Detective John “Scottie” Ferguson (James Stewart) right behind him. Jumping from one roof to another, Scottie slips on the Spanish tiles and slides down, barely catching hold of a gutter to prevent himself dropping many stories to the pavement.  In an effort to help him, the cop climbs back down the roof and holds out his hand, but Scottie has entered a kind of fugue state where he is unable to respond.  Slipping, the cop falls to his death as Scottie watches with a kind of tunnel vision.

Diagnosed with acrophobia, Scottie, independently wealthy, decides to retire rather than take a desk job. He hangs out with his old pal, former fiance, Midge Wood (Barbara Bel Geddes), a former artist who now designs brassieres.  An old college friend, Gavin Elster (Tom Helmore) calls Scottie and asks for a meeting.  A shipping magnate, Elster is concerned about his wife, Madeleine (Kim Novak), a stunning blond who is obsessed with her great gandmother, Carlotta Valdez, who was courted by and bore a child to a very rich San Franciscan, who built a great house for her in what is now the Western Addition, then abandoned her.  She gradually went mad and eventually committed suicide.  At first reluctant, Scottie takes on the job of tailing her as a protective measure, as Elster thinks she might do harm to herself.  He follows her first to a flower shop where she buys a little nosegay of rosebuds, then to the Palace of the Legion of Honor in the Presidio, where she sits before a painting called Portrait of Carlotta, in which the mysterious Carlotta Valdez holds an identical nosegay.  Looking closely, he sees that Madeleine’s hair, done up in a bun that terminates in a distinctive whorl, exactly matches the hair style of Carlotta in the portrait.  Afterwards, he follows her to Mission Dolores, where she visits Carlotta’s grave, and, finally, he tails her to the McKittrick Hotel, which he later discovers is the home that had been built for Carlotta.

The next day, Midge takes Scottie to visit the proprieter of the Argosy Bookstore, who tells him Carlotta’s history. Later, he follows Madeleine to Fort Point, underneath the Western end of Golden Gate Bridge, where, to his horror, she jumps into San Francisco Bay, an apparent suicide.  He jumps in after her and saves her life.  Rather than returning her home, he brings her back to his apartment, undresses her, and puts her to bed, hanging up her clothing to dry.  Scottie passes through phases of becoming fascinated with her, to becoming obsessed with her, and finally falling in love with her.  They meet the following morning, going to Muir Woods, where he begins to drill her on what she remembers of her rambling and especially her dreams, one of which includes a memory of being at the Mission of San Juan Bautista.  Stopping at Cypress Point, they kiss passionately, then he brings her to the Mission, hoping that he will be able to confront her with the past and help her to move beyond it.

At the Mission, she emotionally begs him that whatever happens, he should remember that she loved him, then she runs into the church and climbs the stairs of the bell tower. Following, he begins to have his vertigo attack and cannot go all the way to the top.  He hears a scream and sees her body falling past a window and she dies in the fall.

Although he is cleared of any wrongdoing during the inquiry, he retreats into himself and is finally hospitalized with extreme depresson. Visiting him, Midge sees that he is nearly catatonic and the doctor informs her that it will be six months to a year before he can be released.  Skipping ahead, we see him visiting the places that Madeleine used to visit.  One day, he sees a brunette that looks so much like Madeleine that he follows her back to her apartment and introduces herself.  At first reluctant to see him, Judy Barton (Kim Novak), a shopgirl who works at I Magnin, eventually gives in and agrees to a date at Ernies, the restaurant where Scottie first saw Madeleine.  After he leaves her apartment, Judy relives the moment at the top of the bell tower and we see Elster throw his wife’s body from the bell tower as Judy screams.  It becomes apparent that Judy had been playing the part of Madeleine for Scottie’s benefit, so that Elster would have a reliable witness (with vertigo) who would swear that she committed suicide.  Still in love with Scottie, Judy decides to pursue a relationship with him.

Obsessed with the memory of Madeleine, he begins to dress Judy to look like her, going to the extreme of having her hair dyed blond and recreated the whorl at the back. When she dresses for dinner, however, she makes the crucial mistake of putting on Carlotta’s necklace.  Recognizing it, Scottie assembles the pieces of the puzzle.  He brings her back to the bell tower and forces her to go all the way to the top.  In the process, he overcomes his vertigo.  She confesses to being an accomplice to Madeleine’s murder, but when a nun comes up the steps, Judy screams and turns to run, falling to her death, the same as Madeleine.

James Stewart and Kim Novak both give brilliant, breathtaking performances in this film, which must rank as one of Hitchcock’s very best in a distinguished career of filmmaking. Stewart gives the best performance of his own career as Scottie, perfectly believable from beginning to end.

The cinematography by long-time Hitchcock collaborator Robert Burks is excellent. As a long-time resident of San Francisco, I love the detail and love of landscape shown the San Francisco Bay area, from the Golden Gate Bridge, to the Palace of Fine Arts, Coit Tower, the Palace of the Legion of Honor, the Presidio, Muir Woods, Cypress Point, and Mission Dolores.  It is stunning to see the city in all of its beauty in the late 1950’s.  Although many things have changed over the years, the essential beauty remains unchanged.  At one point in the film, Elster, talking about his return to San Francisco, remarks that the city isn’t what it used to be, but he doesn’t understand the basic timeless beauty to be found there.

The opening credits, designed by Saul Bass, provide a dramatic introduction to the movie. Beginning with a close-up of a woman’s face, the camera moves into and extreme close-up of the woman’s right eye, dissolving into the distinctive whorl, in vibrant violet, that becomes a repeated motif in the movie.  The costumes, by Edith Head, are gorgeous.  And, of course, the music by long time Hitchcock collaborator Bernard Herrmann is great and illustrative of the action.

The screenplay, written by Alec Coppel and Samuel A. Taylor, based on the French novel D’entre les morts by Boileau-Narcejac, is the perfect Hitchcock vehicle.  The pacing of the film is nearly flawless, although it must be considered a little bit long.  As with most of Hitchcock’s movies, the first viewing is the most important because all of the details are just being discovered, but it is also a film that can be watched many times merely to study the technique. 

Painstakingly restored to its original Vistavision glory by Robert A. Harris and James C. Katz, the DVD is simply stunning. It contains a special feature on the film’s difficult restoration process.  If there is one thing, however, that dates the film, it is the special effects depiction of Scottie’s dream after Madeleine has died.  Stewart’s head, framed against a pulsing stream of light and with evolving animation just doesn’t seem to work now.  It was state-of-the-art in 1958, but it doesn’t show well now.

Even with that flaw, the film remains one of Hitchcock’s finest.