Hitchcock Psycho Inhaltsverzeichnis
Auf der Flucht vor dem Gesetz sucht Marion Crane Unterschlupf in einem Motel, das von dem schüchternen Norman Bates geleitet wird. Bates scheint sich für die Frau zu interessieren, doch seine Mutter, mit der er gemeinsam im Haus hinter dem Motel. Psycho ist ein US-amerikanischer Thriller mit Horror-Elementen von Alfred Hitchcock aus dem Jahr Der für vier Oscars nominierte Film gilt als eines seiner. Für Hitchcock wirkte es im Schwarzweiß-Film am echtesten. Szene aus Psycho. Bei „Psycho“ hat sich Alfred Hitchcock, der „Master of Suspense“, selbst üvoetbalelftal.eu Film, der vor 60 Jahren ( Juni ) in New York. Viel mehr als nur ein Horrorfilm: Mit seinem Film "Psycho" hinterließ Alfred Hitchcock gewaltige Spuren in der Filmgeschichte. Denn der. voetbalelftal.eu: Finden Sie Alfred Hitchcock's Psycho in unserem vielfältigen DVD- & Blu-ray-Angebot. Gratis Versand durch Amazon ab einem Bestellwert von 29€. Über Filme auf DVD bei Thalia ✓»Psycho 1«und weitere DVD Filme jetzt online bestellen!
"Psycho" von Alfred Hitchcock. Wie beim Zuschauer durch filmische Mittel Angst, Schrecken und - Filmwissenschaft - Seminararbeit - ebook 12, Doch mit „Psycho“ entlockte Alfred Hitchcock dem Publikum die meisten Schreie. Der Gruselschocker wird nun 60 Jahre alt. Ein junger Mann. Hitchcock kaufte sämtliche Bücher auf, um Spolier zu vermeiden. Im Vergleich zu Hitchcock und seiner Geheimniskrämerei um «Psycho», wirkt. Analyse ausgewählter Filmsequenzen 4. Sie hatte in den 50er Jahren bereits einige Rivalin gefeiert und war mit Hollywood-Star Tony Curtis verheiratet. Die Hauptattraktion des Films, einfach so weg? Einige Wochen vor Drehbeginn fuhr der Regieassistent Hilton Green nach Radio Star und fotografierte dort mehrere Wohnungen und Immobilienbüros, die später im Studio rekonstruiert werden sollten. Die gänzlich ungekürzte Fassung gab es bisher nur im Fernsehen zu sehen. Leider existieren keine Filmaufnahmen von der Premiere. Kommentar Wolfgang Dehler Corona-Einschränkungen. Französische Buldogge ersten Drehtag musste die gesamte Crew schwören, kein Wort über das Ende des Films zu verlieren Attraction (2019) mit niemandem darüber zu sprechen. 
Arbogasts Mord in der Villa 5. Ihre Begegnung mit einem Polizisten war die erste Szene des Films, Wish Upon Fsk fertiggestellt wurde. Sie geht Amazon Störung an die hr1-Musikredaktion und hilft, unser Programm zu verbessern. Link zum Artikel 3. Dazu kommen auf dem Set die Filmcrew und der Regisseur als Betrachter hinzu, die Filmkamera und natürlich wir, die Zuschauer. Titelmelodien zum Mitsingen. Der Regisseur war jedoch der Ansicht, dass die Atmosphäre des Films nicht durch Zuspätkommer zerstört werden sollte. Am Angefangen mit der Eröffnungsszene, bei der die Zensurbehörde an Marion Cranes Bekleidung beziehungsweise am Fehlen derer etwas zu nörgeln hatte. Hitchcock Psycho Movies / TV Video
Understanding Psycho: The UncannyAccording to Donald Spoto in The Dark Side of Genius , Hitchcock's wife, Alma Reville , spotted a blooper in one of the last screenings of Psycho before its official release: after Marion was supposedly dead, one could see her blink.
According to Patricia Hitchcock , talking in Laurent Bouzereau 's "making of" documentary, Alma spotted that Leigh's character appeared to take a breath.
In either case, the postmortem activity was edited out and was never seen by audiences. It is often claimed that, despite its graphic nature, the shower scene never once shows a knife puncturing flesh.
Marion had decided to go back to Phoenix, come clean, and take the consequence, so when she stepped into the bathtub it was as if she were stepping into the baptismal waters.
The spray beating down on her was purifying the corruption from her mind, purging the evil from her soul.
She was like a virgin again, tranquil, at peace. Film theorist Robin Wood also discusses how the shower washes "away her guilt".
He comments upon the " alienation effect " of killing off the "apparent center of the film" with which spectators had identified.
Hitchcock insisted that Bernard Herrmann write the score for Psycho despite the composer's refusal to accept a reduced fee for the film's lower budget.
Herrmann used the lowered music budget to his advantage by writing for a string orchestra rather than a full symphonic ensemble, [98] contrary to Hitchcock's request for a jazz score.
Film composer Fred Steiner , in an analysis of the score to Psycho , points out that string instruments gave Herrmann access to a wider range in tone, dynamics, and instrumental special effects than any other single instrumental group would have.
The main title music, a tense, hurtling piece, sets the tone of impending violence, and returns three times on the soundtrack.
There were rumors that Herrmann had used electronic means, including amplified bird screeches to achieve the shocking effect of the music in the shower scene.
The effect was achieved, however, only with violins in a "screeching, stabbing sound-motion of extraordinary viciousness.
Herrmann biographer Steven C. Smith writes that the music for the shower scene is "probably the most famous and most imitated cue in film music," [] but Hitchcock was originally opposed to having music in this scene.
Herrmann reminded Hitchcock of his instructions not to score this scene, to which Hitchcock replied, "Improper suggestion, my boy, improper suggestion.
The second one, over the score for Torn Curtain , resulted in the end of their professional collaboration. To honor the fiftieth anniversary of Psycho , in July , the San Francisco Symphony [] obtained a print of the film with the soundtrack removed, and projected it on a large screen in Davies Symphony Hall while the orchestra performed the score live.
This was previously mounted by the Seattle Symphony in October as well, performing at the Benaroya Hall for two consecutive evenings.
Psycho is a prime example of the type of film that appeared in the United States during the s after the erosion of the Production Code.
It was unprecedented in its depiction of sexuality and violence, right from the opening scene in which Sam and Marion are shown as lovers sharing the same bed, with Marion in a bra.
Another controversial issue was the gender bending element. Perkins, who was allegedly a homosexual , [] and Hitchcock, who previously made Rope , were both experienced in the film's transgressive subject matter.
The viewer is unaware of the Bates' gender bending, until, at the end of the movie, it is revealed that Bates crossdresses as his mother during the attempted murder of Lila.
At the station, Sam asks why Bates was dressed that way. The police officer, ignorant of Bates' split personality, bluntly utters that Bates is a transvestite.
The psychiatrist corrects him and says, "Not exactly". He explains that Bates believes that he is his own mother when he dresses in her clothes.
According to the book Alfred Hitchcock and the Making of Psycho , the censors in charge of enforcing the Production Code wrangled with Hitchcock because some of them insisted they could see one of Leigh's breasts.
Hitchcock held onto the print for several days, left it untouched, and resubmitted it for approval. Each of the censors reversed their positions: those who had previously seen the breast now did not, and those who had not, now did.
They passed the film after the director removed one shot that showed the buttocks of Leigh's stand-in. Because board members did not show up for the re-shoot, the opening stayed.
Another cause of concern for the censors was that Marion was shown flushing a toilet, with its contents torn-up note paper fully visible.
No flushing toilet had appeared in mainstream film and television in the United States at that time. Internationally, Hitchcock was forced to make minor changes to the film, mostly to the shower scene.
In Britain, the BBFC requested cuts to stabbing sounds and visible nude shots, and in New Zealand the shot of Norman washing blood from his hands was objected to.
In Singapore, though the shower scene was left untouched, the murder of Arbogast, and a shot of Norman's mother's corpse were removed.
The next year, a highly edited version missing some feet of film was submitted to the Irish censor. O'Hara ultimately requested that an additional seven cuts be made: the line where Marion tells Sam to put his shoes on which implied that he earlier had his trousers off , two shots of Norman spying on Marion through the key-hole, Marion's undressing, the shots of Marion's blood flowing down the shower, the shots of Norman washing his hands when blood is visible, incidents of multiple stabbings "One stab is surely enough," wrote O'Hara , the words "in bed" from the Sheriff's wife's line "Norman found them dead together in bed," and Abogast's questions to Norman about whether he spent the night with Marion.
The most controversial move was Hitchcock's "no late admission" policy for the film, which was unusual for the time. It was not entirely original as Clouzot had done the same in France for Diabolique.
However, after the first day, the owners enjoyed long lines of people waiting to see the film. Hitchcock did most of the promotion himself, forbidding Leigh and Perkins to make the usual television, radio, and print interviews for fear of them revealing the plot.
The film's original trailer features a jovial Hitchcock taking the viewer on a tour of the set, and almost giving away plot details before stopping himself.
It is "tracked" with Herrmann's Psycho theme, but also jovial music from Hitchcock's comedy The Trouble with Harry ; most of Hitchcock's dialogue is post-synchronized.
The trailer was made after completion of the film, and because Janet Leigh was no longer available for filming, Hitchcock had Vera Miles don a blonde wig and scream loudly as he pulled the shower curtain back in the bathroom sequence of the preview.
Because the title Psycho instantly covers most of the screen, the switch went unnoticed by audiences for years.
However, a freeze-frame analysis clearly reveals that it is Miles and not Leigh in the shower during the trailer.
Percy , was murdered. As her parents slept mere feet away, she was stabbed a dozen times with a double-edged knife. In light of the murder, CBS agreed to postpone the broadcast.
As a result of the Apollo pad fire of January 27, , the network washed its hands of Psycho. Shortly afterward Paramount included the film in its first syndicated package of post movies, "Portfolio I".
Following another successful theatrical reissue in , the film finally made its way to general television broadcast in one of Universal's syndicated programming packages for local stations in Psycho was aired for 20 years in this format, then leased to cable for two years before returning to syndication as part of the "List of a Lifetime" package.
Psycho has been rated and re-rated several times over the years by the MPAA. Later, when the MPAA switched to a voluntary letter ratings system in , Psycho was one of a number of high-profile motion pictures to be retro-rated with an "M" Mature Audiences.
DiscoVision first released Psycho on the LaserDisc format in "standard play" 5 sides in , and "extended play" 2 sides in October This THX-certified Widescreen 1.
For the DVD release, Laurent Bouzereau produced a documentary looking at the film's production and reception. Universal released a 50th anniversary edition on Blu-ray in the United Kingdom on August 9, , [] with Australia making the same edition with a different cover available on September 1, This release marked the first time that the "Uncut" theatrical version was released on home video in 60 years.
Initial reviews of the film were mixed. While the film did not conclude satisfactorily for the critic, he commended the cast's performances as "fair".
Lejeune was so offended that she not only walked out before the end but permanently resigned her post as film critic for The Observer.
Janet Leigh has never been better", "played out beautifully", and "first American movie since Touch of Evil to stand in the same creative rank as the great European films", respectively.
Mainstream audiences enjoyed the film, with lines stretching outside of theaters as people had to wait for the next showing. This, along with box office numbers, led to a reconsideration of the film by critics, and it eventually received a large amount of praise.
In the United Kingdom, the film broke attendance records at the London Plaza Cinema, but nearly all British film critics gave it poor reviews, questioning Hitchcock's taste and judgment.
Reasons cited for this were the critics' late screenings, forcing them to rush their reviews, their dislike of the gimmicky promotion, and Hitchcock's expatriate status.
Time magazine switched its opinion from "Hitchcock bears down too heavily in this one" to "superlative" and "masterly", and Bosley Crowther put it on his Top Ten list of The site's critical consensus states, "Infamous for its shower scene, but immortal for its contribution to the horror genre.
Because Psycho was filmed with tact, grace, and art, Hitchcock didn't just create modern horror, he validated it. Psycho was criticized for causing other filmmakers to show gory content; three years later, Blood Feast , considered to be the first " splatter film ", was released.
In Psycho , Hitchcock subverts the romantic elements that are seen in most of his work. The film is instead ironic as it presents "clarity and fulfillment" of romance.
The past is central to the film; the main characters "struggle to understand and resolve destructive personal histories" and ultimately fail.
The myth does not sustain with Marion, who dies hopelessly in her room at the Bates Motel. The room is wallpapered with floral print like Persephone's flowers, but they are only "reflected in mirrors, as images of images—twice removed from reality".
In the scene of Marion's death, Brill describes the transition from the bathroom drain to Marion's lifeless eye, "Like the eye of the amorphous sea creature at the end of Fellini's La Dolce Vita , it marks the birth of death, an emblem of final hopelessness and corruption.
Marion is deprived of "the humble treasures of love, marriage, home and family", which Hitchcock considers elements of human happiness.
There exists among Psycho ' s secondary characters a lack of "familial warmth and stability", which demonstrates the unlikelihood of domestic fantasies.
The film contains ironic jokes about domesticity, such as when Sam writes a letter to Marion, agreeing to marry her, only after the audience sees her buried in the swamp.
Sam and Marion's sister Lila, in investigating Marion's disappearance, develop an "increasingly connubial" relationship, a development that Marion is denied.
He has "an infantile and divided personality" and lives in a mansion whose past occupies the present. Norman displays stuffed birds that are "frozen in time" and keeps childhood toys and stuffed animals in his room.
He is hostile toward suggestions to move from the past, such as with Marion's suggestion to put his mother "someplace" and as a result kills Marion to preserve his past.
Brill explains, " 'Someplace' for Norman is where his delusions of love, home, and family are declared invalid and exposed.
Light and darkness feature prominently in Psycho. The first shot after the intertitle is the sunny landscape of Phoenix before the camera enters a dark hotel room where Sam and Marion appear as bright figures.
Marion is almost immediately cast in darkness; she is preceded by her shadow as she reenters the office to steal money and as she enters her bedroom.
When she flees Phoenix, darkness descends on her drive. The following sunny morning is punctured by a watchful police officer with black sunglasses, and she finally arrives at the Bates Motel in near darkness.
Examples of brightness include the opening window shades in Sam's and Marion's hotel room, vehicle headlights at night, the neon sign at the Bates Motel, "the glaring white" of the bathroom tiles where Marion dies, and the fruit cellar's exposed light bulb shining on the corpse of Norman's mother.
Such bright lights typically characterize danger and violence in Hitchcock's films. The film often features shadows, mirrors, windows, and, less so, water.
The shadows are present from the first scene where the blinds make bars on Marion and Sam as they peer out of the window. The stuffed birds' shadows loom over Marion as she eats, and Norman's mother is seen in only shadows until the end.
More subtly, backlighting turns the rakes in the hardware store into talons above Lila's head. Mirrors reflect Marion as she packs, her eyes as she checks the rear-view mirror, her face in the policeman's sunglasses, and her hands as she counts out the money in the car dealership's bathroom.
A motel window serves as a mirror by reflecting Marion and Norman together. Hitchcock shoots through Marion's windshield and the telephone booth, when Arbogast phones Sam and Lila.
The heavy downpour can be seen as a foreshadowing of the shower, and its cessation can be seen as a symbol of Marion making up her mind to return to Phoenix.
There are a number of references to birds. Marion's last name is Crane and she is from Phoenix. Norman comments that Marion eats like a bird.
The motel room has pictures of birds on the wall. Brigitte Peucker also suggests that Norman's hobby of stuffing birds literalizes the British slang expression for sex, "stuffing birds", bird being British slang for a desirable woman.
Psycho has been called "the first psychoanalytical thriller. In , the film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and was selected for preservation in the National Film Registry.
Psycho has appeared on a number of lists by websites, television channels, and magazines. The shower scene was featured as number four on the list of Bravo Network's Scariest Movie Moments, [] whilst the finale was ranked number four on Premiere ' s similar list.
In , the Motion Picture Editors Guild listed the film as the twelfth best-edited film of all time based on a survey of its membership. American Film Institute has included Psycho in these lists:.
Psycho has become one of the most recognizable films in cinema history, and is arguably Hitchcock's best known film. This played on his reader's expectations of traditional plots, leaving them uncertain and anxious.
Hitchcock recognized the effect this approach could have on audiences, and utilized it in his adaptation, killing off Leigh's character at the end of the first act.
This daring plot device, coupled with the fact that the character was played by the biggest box-office name in the film, was a shocking turn of events in The shower scene has become a pop culture touchstone and is often regarded as one of the most terrifying scenes ever filmed.
Its effectiveness is often credited to the use of startling editing techniques borrowed from the Soviet montage filmmakers, [] [] and to the iconic screeching violins in Bernard Herrmann 's musical score.
The scene has been frequently spoofed and referenced in popular culture, complete with the violin screeching sound effects see Charlie and the Chocolate Factory , among many others.
Psycho is considered by some to be the first film in the slasher film genre, [] though some critics and film historians point to Michael Powell's Peeping Tom , a lesser-known film with similar themes of voyeurism and sexualized violence, whose release happened to precede Psycho ' s by a few months.
Psycho has been referenced in other films numerous times: examples include the musical horror film Phantom of the Paradise ; the horror film Halloween which starred Jamie Lee Curtis , Janet Leigh's daughter, and Donald Pleasence 's character was named " Sam Loomis " ; [] the Mel Brooks tribute to many of Hitchcock's thrillers, High Anxiety ; the Fade to Black ; the Dressed to Kill ; and Wes Craven 's horror satire Scream.
The film boosted Perkins' career, but he soon began to suffer from typecasting. One letter was so "grotesque" that she passed it to the FBI.
Two agents visited Leigh and told her the culprits had been located and that she should notify the FBI if she received any more letters of that type.
Leigh said, "no other murder mystery in the history of the movies has inspired such merchandising.
In , it was adapted scene-for-scene into three comic books by the Innovative Corporation. Anthony Perkins returned to his role of Norman Bates in all three sequels, and also directed the third film.
From Wikipedia, the free encyclopedia. This article is about the film. For the remake, see Psycho film. For the sequels, see Psycho franchise.
Release date. Running time. Play media. See also: Psycho franchise. July 21, Archived from the original on July 27, Retrieved August 18, Turner Classic Movies.
Retrieved April 25, June 22, Hitchcock felt uneasy living and working in Hollywood while his country was at war; his concern resulted in a film that overtly supported the British war effort.
Mixing footage of European scenes with scenes filmed on a Hollywood backlot, the film avoided direct references to Nazism , Nazi Germany , and Germans, to comply with Hollywood's Motion Picture Production Code censorship at the time.
In September the Hitchcocks bought the acre 0. Smith to the bleak film noir Shadow of a Doubt Suspicion marked Hitchcock's first film as a producer and director.
It is set in England; Hitchcock used the north coast of Santa Cruz for the English coastline sequence. The film is the first of four projects on which Cary Grant worked with Hitchcock, and it is one of the rare occasions that Grant was cast in a sinister role.
Grant's character is a killer in the book on which the film was based, Before the Fact by Francis Iles , but the studio felt that Grant's image would be tarnished by that.
Saboteur is the first of two films that Hitchcock made for Universal during the decade. Hitchcock was forced by Universal Studios to use Universal contract player Robert Cummings and Priscilla Lane , a freelancer who signed a one-picture deal with Universal, both known for their work in comedies and light dramas.
Shadow of a Doubt was Hitchcock's personal favourite and the second of the early Universal films. Hitchcock again filmed extensively on location, this time in the Northern California city of Santa Rosa.
Working at 20th Century Fox , Hitchcock approached John Steinbeck with an idea for a film, which recorded the experiences of the survivors of a German U-boat attack.
Steinbeck then began work on the script which would become the film Lifeboat However, Steinbeck was unhappy with the film and asked that his name be removed from the credits, to no avail.
The idea was rewritten as a short story by Harry Sylvester and published in Collier's in The action sequences were shot in a small boat in the studio water tank.
The locale posed problems for Hitchcock's traditional cameo appearance. That was solved by having Hitchcock's image appear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after advertisement for "Reduco-Obesity Slayer".
At the time, I was on a strenuous diet, painfully working my way from three hundred to two hundred pounds. So I decided to immortalize my loss and get my bit part by posing for "before" and "after" pictures.
I was literally submerged by letters from fat people who wanted to know where and how they could get Reduco. Hitchcock's typical dinner before the weight loss had been a roast chicken, boiled ham, potatoes, bread, vegetables, relishes, salad, dessert, a bottle of wine and some brandy.
To lose weight, he stopped drinking, drank black coffee for breakfast and lunch, and ate steak and salad for dinner, but it was hard to maintain; Spoto writes that his weight fluctuated considerably over the next 40 years.
At the end of , despite the weight loss, the Occidental Insurance Company of Los Angeles refused him life insurance.
Hitchcock returned to the UK for an extended visit in late and early While there he made two short propaganda films , Bon Voyage and Aventure Malgache , for the Ministry of Information.
In June and July Hitchcock served as "treatment advisor" on a Holocaust documentary that used Allied Forces footage of the liberation of Nazi concentration camps.
The film was assembled in London and produced by Sidney Bernstein of the Ministry of Information, who brought Hitchcock a friend of his on board.
It was originally intended to be broadcast to the Germans, but the British government deemed it too traumatic to be shown to a shocked post-war population.
Instead, it was transferred in from the British War Office film vaults to London's Imperial War Museum and remained unreleased until , when an edited version was broadcast as an episode of PBS Frontline , under the title the Imperial War Museum had given it: Memory of the Camps.
Anthony Edwardes under the treatment of analyst Dr. Peterson Ingrid Bergman , who falls in love with him while trying to unlock his repressed past.
For added novelty and impact, the climactic gunshot was hand-coloured red on some copies of the black-and-white film. Notorious followed Spellbound.
His prescient use of uranium as a plot device led to him being briefly placed under surveillance by the Federal Bureau of Investigation.
Selznick complained that the notion was "science fiction", only to be confronted by the news of the detonation of two atomic bombs on Hiroshima and Nagasaki in Japan in August Hitchcock formed an independent production company, Transatlantic Pictures , with his friend Sidney Bernstein.
He made two films with Transatlantic, one of which was his first colour film. With Rope , Hitchcock experimented with marshalling suspense in a confined environment, as he had done earlier with Lifeboat Some transitions between reels were hidden by having a dark object fill the entire screen for a moment.
Hitchcock used those points to hide the cut, and began the next take with the camera in the same place. The film features James Stewart in the leading role, and was the first of four films that Stewart made with Hitchcock.
It was inspired by the Leopold and Loeb case of the s. Under Capricorn , set in 19th-century Australia, also uses the short-lived technique of long takes, but to a more limited extent.
He again used Technicolor in this production, then returned to black-and-white films for several years.
Transatlantic Pictures became inactive after these two unsuccessful films. His film Strangers on a Train was based on the novel of the same name by Patricia Highsmith.
Hitchcock combined many elements from his preceding films. He approached Dashiell Hammett to write the dialogue, but Raymond Chandler took over, then left over disagreements with the director.
In the film, two men casually meet, one of whom speculates on a foolproof method to murder; he suggests that two people, each wishing to do away with someone, should each perform the other's murder.
Farley Granger 's role was as the innocent victim of the scheme, while Robert Walker , previously known for "boy-next-door" roles, played the villain.
She kills the hired assassin in self-defence, so Milland manipulates the evidence to make it look like murder. Stewart's character is a photographer based on Robert Capa who must temporarily use a wheelchair.
Out of boredom, he begins observing his neighbours across the courtyard, then becomes convinced that one of them Raymond Burr has murdered his wife.
Stewart eventually manages to convince his policeman buddy Wendell Corey and his girlfriend Kelly. As with Lifeboat and Rope , the principal characters are depicted in confined or cramped quarters, in this case Stewart's studio apartment.
Hitchcock uses close-ups of Stewart's face to show his character's reactions, "from the comic voyeurism directed at his neighbours to his helpless terror watching Kelly and Burr in the villain's apartment".
From to , Hitchcock was the host of the television series Alfred Hitchcock Presents. The title-sequence of the show pictured a minimalist caricature of his profile he drew it himself; it is composed of only nine strokes , which his real silhouette then filled.
His introductions always included some sort of wry humour, such as the description of a recent multi-person execution hampered by having only one electric chair , while two are shown with a sign "Two chairs—no waiting!
In the s, a new version of Alfred Hitchcock Presents was produced for television, making use of Hitchcock's original introductions in a colourised form.
In Hitchcock became a United States citizen. Grant plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera.
A thrill-seeking American heiress played by Kelly surmises his true identity and tries to seduce him.
She married Prince Rainier of Monaco in , and ended her film career. They play a couple whose son is kidnapped to prevent them from interfering with an assassination.
As in the film, the climax takes place at the Royal Albert Hall , London. This was the only film of Hitchcock to star Henry Fonda , playing a Stork Club musician mistaken for a liquor store thief, who is arrested and tried for robbery while his wife Vera Miles emotionally collapses under the strain.
Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes. He had wanted Vera Miles to play the lead, but she was pregnant.
He told Oriana Fallaci : "I was offering her a big part, the chance to become a beautiful sophisticated blonde, a real actress.
We'd have spent a heap of dollars on it, and she has the bad taste to get pregnant. I hate pregnant women, because then they have children.
In the film, James Stewart plays Scottie, a former police investigator suffering from acrophobia , who develops an obsession with a woman he has been hired to shadow Kim Novak.
Scottie's obsession leads to tragedy, and this time Hitchcock does not opt for a happy ending. Some critics, including Donald Spoto and Roger Ebert , agree that Vertigo is the director's most personal and revealing film, dealing with the Pygmalion -like obsessions of a man who crafts a woman into the woman he desires.
Vertigo explores more frankly and at greater length his interest in the relation between sex and death than any other work in his filmography.
Vertigo contains a camera technique developed by Irmin Roberts, commonly referred to as a dolly zoom , that has been copied many times by filmmakers.
Hitchcock followed Vertigo with three more successful films, which are also recognised as among his best: North by Northwest , Psycho and The Birds Thornhill at first believes Kendall is helping him, then that she is an enemy agent; he eventually learns that she is working undercover for the CIA.
Psycho is arguably Hitchcock's best-known film. He subsequently swapped his rights to Psycho and his TV anthology for , shares of MCA , making him the third largest shareholder and his own boss at Universal, in theory at least, although that did not stop them from interfering with him.
It took four years to transcribe the tapes and organise the images; it was published as a book in , which Truffaut nicknamed the "Hitchbook". The audio tapes were used as the basis of a documentary in It was obvious from his films, Truffaut wrote, that Hitchcock had "given more thought to the potential of his art than any of his colleagues".
He compared the interview to "Oedipus' consultation of the oracle". The film scholar Peter William Evans writes that The Birds and Marnie are regarded as "undisputed masterpieces".
He hired Tippi Hedren to play the lead role. Movies don't have them any more. Grace Kelly was the last. Hedren visits him in Bodega Bay where The Birds was filmed [] carrying a pair of lovebirds as a gift.
Suddenly waves of birds start gathering, watching, and attacking. The question: "What do the birds want? He said it was his most technically challenging film yet, using a combination of trained and mechanical birds against a backdrop of wild ones.
Every shot was sketched in advance. He reportedly isolated her from the rest of the crew, had her followed, whispered obscenities to her, had her handwriting analysed, and had a ramp built from his private office directly into her trailer.
Toward the end of the week, to stop the birds flying away from her too soon, one leg of each bird was attached by nylon thread to elastic bands sewn inside her clothes.
She broke down after a bird cut her lower eyelid, and filming was halted on doctor's orders. In June , Grace Kelly announced that she had decided against appearing in Marnie In , describing Hedren's performance as "one of the greatest in the history of cinema", Richard Brody called the film a "story of sexual violence" inflicted on the character played by Hedren: "The film is, to put it simply, sick, and it's so because Hitchcock was sick.
He suffered all his life from furious sexual desire, suffered from the lack of its gratification, suffered from the inability to transform fantasy into reality, and then went ahead and did so virtually, by way of his art.
She applies for a job at Mark Rutland's Connery company in Philadelphia and steals from there too. Earlier she is shown having a panic attack during a thunderstorm and fearing the colour red.
Mark tracks her down and blackmails her into marrying him. She explains that she does not want to be touched, but during the "honeymoon", Mark rapes her.
Marnie and Mark discover that Marnie's mother had been a prostitute when Marnie was a child, and that, while the mother was fighting with a client during a thunderstorm—the mother believed the client had tried to molest Marnie—Marnie had killed the client to save her mother.
Cured of her fears when she remembers what happened, she decides to stay with Mark. Hitchcock told Robert Burks , the cinematographer, that the camera had to be placed as close as possible to Hedren when he filmed her face.
Hitchcock reportedly replied: "Evan, when he sticks it in her, I want that camera right on her face! Failing health reduced Hitchcock's output during the last two decades of his life.
Torn Curtain , with Paul Newman and Julie Andrews , precipitated the bitter end of the year collaboration between Hitchcock and composer Bernard Herrmann.
Both films received mixed reviews. Hitchcock returned to Britain to make his penultimate film, Frenzy , based on the novel Goodbye Piccadilly, Farewell Leicester Square After two espionage films, the plot marked a return to the murder-thriller genre.
Richard Blaney Jon Finch , a volatile barman with a history of explosive anger, becomes the prime suspect in the investigation into the "Necktie Murders", which are actually committed by his friend Bob Rusk Barry Foster.
This time, Hitchcock makes the victim and villain kindreds, rather than opposites as in Strangers on a Train.
In Frenzy , Hitchcock allowed nudity for the first time. Two scenes show naked women, one of whom is being raped and strangled; [] Spoto called the latter "one of the most repellent examples of a detailed murder in the history of film".
Both actors, Barbara Leigh-Hunt and Anna Massey , refused to do the scenes, so models were used instead. Many times Hitchcock slipped in subtle hints of improprieties forbidden by censorship until the mids.
Yet McGilligan wrote that Breen and others often realised that Hitchcock was inserting such things and were actually amused, as well as alarmed by Hitchcock's "inescapable inferences".
Family Plot was Hitchcock's last film. It relates the escapades of "Madam" Blanche Tyler, played by Barbara Harris , a fraudulent spiritualist, and her taxi-driver lover Bruce Dern , making a living from her phony powers.
Screenwriter Ernest Lehman originally wrote the film, under the working title Deception, with a dark tone but was pushed to a lighter, more comical tone by Hitchcock where it took the name Deceit, then finally, Family Plot.
Despite preliminary work, it was never filmed. Hitchcock's health was declining and he was worried about his wife, who had suffered a stroke.
Asked by a reporter after the ceremony why it had taken the Queen so long, Hitchcock quipped, "I suppose it was a matter of carelessness.
His last public appearance was on 16 March , when he introduced the next year's winner of the American Film Institute award. His remains were scattered over the Pacific Ocean on 10 May Hitchcock returned several times to cinematic devices such as the audience as voyeur , [] suspense, the wrong man or woman, and the " MacGuffin ," a plot device essential to the characters but irrelevant to the audience.
Hitchcock appears briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train Strangers on a Train , walking dogs out of a pet shop The Birds , fixing a neighbour's clock Rear Window , as a shadow Family Plot , sitting at a table in a photograph Dial M for Murder , and riding a bus North by Northwest , To Catch a Thief.
Hitchcock's portrayal of women has been the subject of much scholarly debate. Bidisha wrote in The Guardian in "There's the vamp, the tramp, the snitch, the witch, the slink, the double-crosser and, best of all, the demon mommy.
Don't worry, they all get punished in the end. They were icy and remote. They were imprisoned in costumes that subtly combined fashion with fetishism.
They mesmerised the men, who often had physical or psychological handicaps. Sooner or later, every Hitchcock woman was humiliated. The victims in The Lodger are all blondes.
In The 39 Steps , Madeleine Carroll is put in handcuffs. Ingrid Bergman , whom Hitchcock directed three times Spellbound , Notorious , and Under Capricorn , is dark blonde.
Tippi Hedren , a blonde, appears to be the focus of the attacks in The Birds In Marnie , the title character, again played by Hedren, is a thief.
Hitchcock's last blonde heroine was Barbara Harris as a phony psychic turned amateur sleuth in Family Plot , his final film.
In the same film, the diamond smuggler played by Karen Black wears a long blonde wig in several scenes.
His films often feature characters struggling in their relationships with their mothers, such as Norman Bates in Psycho. In North by Northwest , Roger Thornhill Cary Grant is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him.
In The Birds , the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself from a clinging mother Jessica Tandy.
The killer in Frenzy has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother played by Marion Lorne.
Sebastian Claude Rains in Notorious has a clearly conflicting relationship with his mother, who is rightly suspicious of his new bride, Alicia Huberman Ingrid Bergman.
Hitchcock became known for having remarked that "actors are cattle". Smith , Carole Lombard brought three cows onto the set wearing the name tags of Lombard, Robert Montgomery , and Gene Raymond , the stars of the film, to surprise him.
Hitchcock responded by saying that, at one time, he had been accused of calling actors cattle. What I probably said, was that all actors should be treated like cattle In a nice way of course.
Hitchcock believed that actors should concentrate on their performances and leave work on script and character to the directors and screenwriters.
He told Bryan Forbes in "I remember discussing with a method actor how he was taught and so forth.
He said, 'We're taught using improvisation. We are given an idea and then we are turned loose to develop in any way we want to. That's writing.
Critics observed that, despite his reputation as a man who disliked actors, actors who worked with him often gave brilliant performances.
He used the same actors in many of his films; Cary Grant and James Stewart both worked with Hitchcock four times, [] and Ingrid Bergman three.
James Mason said that Hitchcock regarded actors as "animated props". He should be willing to be used and wholly integrated into the picture by the director and the camera.
He must allow the camera to determine the proper emphasis and the most effective dramatic highlights. Hitchcock planned his scripts in detail with his writers.
In Writing with Hitchcock , Steven DeRosa noted that Hitchcock supervised them through every draft, asking that they tell the story visually.
Once the screenplay is finished, I'd just as soon not make the film at all. All the fun is over. I have a strongly visual mind.
Psycho begins with a view of a city that is arbitrarily identified along with an exact date and time. The camera, seemingly at random, chooses first one of the many buildings and then one of the many windows to explore before the audience is introduced to Marion and Sam.
The fact that the city and room were arbitrarily identified impresses upon the audience that their own lives could randomly be applied to the events that are about to follow.
As Marion begins her journey, the audience is drawn farther into the depths of what is disturbingly abnormal behaviour although it is compelled to identify and sympathize with her actions.
In the car dealership, for example, Marion enters the secluded bathroom in order to have privacy while counting her money. Hitchcock, however, with upper camera angles and the convenient placing of a mirror is able to convey the sense of an ever lingering conscious mind that makes privacy impossible.
Hitchcock brings the audience into the bathroom with Marion and allows it to struggle with its own values and beliefs while Marion makes her own decision and continues with her journey.
The split personality motif reaches the height of its foreshadowing power as Marion battles both sides of her conscience while driving on an ominous and seemingly endless road toward the Bates Motel.
Marion wrestles with the voices of those that her crime and disappearance has affected while the audience is compelled to recognise as to why it can so easily identify with Marion despite her wrongful actions.
The suspicion and animosity that Marion feels while at the motel is felt by the audience. Hitchcock compels the audience to identify with the quiet and shy character whose devotion to his invalid mother has cost him his own identity.
Hitchcock Psycho Seminararbeit, 2002
Bild: wikicommons. Die Idee dazu kam Hitchcock, nachdem er Im Zeichen des Bösen gesehen hatte, der ebenfalls mit einer mehrminütigen Kamerafahrt beginnt. Da du bis hierhin gescrollt hast, Gary Dourdan wir davon aus, dass dir unser journalistisches Angebot gefällt. Das Haus kostete rund Animation in Wir möchten möglichst keine Hürden für den Zugang zu watson schaffen, weil wir glauben, es sollten sich in einer Demokratie Hitchcock Psycho jederzeit und einfach mit Informationen Angus Thongs And Perfect Snogging Stream können. Noch nie hatte ein Film eine offene WC-Schüssel gezeigt, geschweige eine, die gespült wurde. Dabei soll herausgestellt werden, wie diese filmischen Mittel zu Angst oder Schock- erlebnissen beim Betrachter des Thrillers Loes Haverkort.
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