I never use the term 'Hitchcockian' lightly, but I believe it is Hitchcockian.
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Perhaps Mr. Rasche hoped to build Hitchcockian tension and suspense.
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And a Hitchcockian thriller with Sam Worthington is on Netflix.
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It has exactly one smart, perfectly conceived Hitchcockian page: its last.
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There are Hitchcockian plot twists to her time spent with this crowd.
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It's been a while since Broadway has seen such gratifying, Hitchcockian fare.
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They summon Hitchcockian swarms of sea gulls with confetti showers of bread crumbs.
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But based on the production value, it's much less Hitchcockian and much more Chris Harrison.
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Consider just three indicators that there is more suspense than surprise in this Hitchcockian scene.
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Michael Mayer will direct both Nico Muhly's Hitchcockian "Marnie" and Verdi's "La Traviata," with Diana Damrau.
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In a vintage Psycho-style Hitchcockian nod, he begins to see impossible happenings around his recovery clinic.
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It's not surprising that this Hitchcockian fantasy emerged as I listened to Mr. Sciarrino's anxious, twitchy work.
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Not in a casual-glance kind of way but in a Hitchcockian, Rear Window-obsessive type of way.
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"It was eerie, creepy and enticing," Mr. LeBoff said about the twisty, Hitchcockian tone of Ms. Hawkins's book.
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When you're a teenager and you see Hitchcockian cinema put forward in this 50 cent comic book — that's indelible.
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But Pretty Little Liars uses more than a single specific Hitchcockian suspense trope to play with teen girl fears.
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The Hitchcockian scene originated on Concord's Hitchcock Drive, where police say an amateur beekeeper accidentally loosed the swarm on Saturday.
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The structural ingenuity, psychological perversity and visual bravura that characterize Mr. De Palma's films can all plausibly be called Hitchcockian.
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But he seemed every bit the lord of the manor, wearing an electric-blue sport jacket over a Hitchcockian frame.
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She brilliantly captures a sense of Hitchcockian, curtain-twitching intensity as Mary and her terraced neighbours struggle to escape each other.
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The actress scoured Pinterest and Instagram for platinum blonde inspiration photos, but ultimately wanted to go for a '60s Hitchcockian blonde.
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" This is no Hitchcockian tale of a double life but an insightful portrait of grief's power to create "a dislocation of reality.
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Composed by Hans Zimmer, it is, appropriately, the kind of nerve-shredding score you'd associate with a horror movie, or a Hitchcockian psychological thriller.
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She further explores Hitchcockian motifs and the art of the mash-up in her new evening-length dance, "Tenderizer," for a cast of 14.
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Hitchcockian suspense can be found in this thriller, which stars Sam Worthington as a man trying to solve his way out of mysterious circumstances.
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It lacks Hitchcockian tension or Christie-level dignity, but it's funny, surprising, and intriguing in the way it flips the usual murder-mystery script.
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But regardless of the many genres in which Kristen Stewart's new, eerie, Hitchcockian fashion film belongs, it promises to keep viewers glued to their seats.
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Though they're filtered through a Hitchcockian plot of gaslighting and deception, both women's emotional motivations tell a more mature story than the pulpy content belies.
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Until the particulars of Joanna's scheme start to reveal themselves — roughly until the first fight sequence — Mr. Collet-Serra cultivates a clammy, hallucinatory, Hitchcockian vibe.
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In probably the most shocking twist for Amazon's Hitchcockian thriller Homecoming, star Julia Roberts won't be returning to star in the second season of the show.
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The original Twilight Zone was a genre-defying anthology series which spun sci-fi, fantasy, and even Hitchcockian tales in order to reveal an ultimate moral.
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When the sun comes out, we roast as the temperature climbs into the high 80s, a merciless high-altitude sun accompanied by swarms of Hitchcockian mosquitoes.
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The movie is a Hitchcockian potboiler, a Weinstein production directed by Anthony Minghella, adapted from Patricia Highsmith's novel and set in the poshest parts of Italy.
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The first is a Hitchcockian film within a film: Kate Plays Christine treads the meta waters of what it means to be an actress embodying a character.
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If you missed this secret scene during your first watch of the series, then this is just another reason to go back and rewatch the Hitchcockian show.
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Odds & Ends The musical cues in 2015 when Hays and West investigate the Hoyt mansion and go looking for Julie at the convent were outstanding, very Hitchcockian.
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DOWN A DARK HALL Rodrigo Cortes — who has yet to match the Hitchcockian suspense of "Buried" (2010) — directs this adaptation of Lois Duncan's young-adult horror novel.
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"Until the particulars of Joanna's scheme start to reveal themselves — roughly until the first fight sequence — Mr. Collet-Serra cultivates a clammy, hallucinatory, Hitchcockian vibe," he said.
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This is one of the great hallmarks of Hitchcockian suspense: The moment when, against all your instincts, you find yourself developing some measure of sympathy with the Devil.
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If, however, you are waiting for the "O" explosion, you may end up with little more than the suspense of a Hitchcockian bomb that fails to go off.
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Mr. Vigalondo, a genre swashbuckler whose oeuvre includes the hectic, Hitchcockian thriller "Open Windows," starring Elijah Wood and Sasha Grey, has given that textbook wisdom a new spin.
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Olson seems like a quintessentially Hitchcockian wrong man, a relative innocent sucked into a vortex of conspiracy and preyed upon by men with sinister agendas and dubious scruples.
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This led an observer to the possibility that the stone was really a MacGuffin, in the classic Hitchcockian sense—an object that everyone's chasing but that doesn't really matter.
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With twists that will have you gasping out loud, this Hitchcockian noir thriller is the book to read if you've been waiting (too long) for the next Gone Girl.
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" That Hitchcockian railroad caper set in motion an artistically electric and financially lucrative partnership with the late comedic genius Richard Pryor that included 1980's smash hit, "Stir Crazy.
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Despite meeting a stranger on a train, MacCauley isn't exactly your standard Hitchcockian ordinary bloke, inasmuch as he was a cop, we're told, before he decided to switch careers.
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If Cam is a cautionary tale, it's a warning to a world about the hazards of the internet age, a sort of Black Mirror-esque take on a Hitchcockian tale.
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Those aren't particularly Hitchcockian tropes; they're more general horror — think the dolls in the Child's Play franchise or the masks the villains wear in Nightmare on Elm Street or Halloween.
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Alice has to get to the bottom of things before she loses her identity to her new double in a Hitchcockian mystery that never once looks down on its fierce protagonist.
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After that, he worked to shed his kid-star skin, starring in the Hitchcockian teen thriller Disturbia, the box office beast Transformers, the period war epic Fury, and plenty of others.
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"Mind Playing Tricks on Me," arguably the greatest Halloween song of all time off of Bushwick Bill's Hitchcockian verse, rides a smooth Isaac Hayes flip instead of something more nerve-wracking.
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This sexy, visually opulent film is flooded with brooding music by Mr. Almodóvar's longtime composer, Alberto Iglesias, which contributes to the mood of a high-end soap opera with Hitchcockian overtones.
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Through heat-jellied water, my diver's mask reveals an aquarium of striped fish and fish with long Hitchcockian faces and tiny minnows hungrily scrumming at a scratch on my boy's knee.
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Then there is that flock of "disastrous-bright" red birds that shows up, inexplicably, one day, injecting an element of Hitchcockian surrealism into a story that becomes more disturbing by the page.
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THE CLOVEHITCH KILLER In a Hitchcockian premise (specifically, what sounds like a spin on his "Suspicion"), a teenager (Charlie Plummer) starts to suspect his father, a scout leader, could be a serial killer.
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Nico Muhly, whose Hitchcockian opera "Marnie" will be performed at the Metropolitan Opera next season, wrote a made-for-TV aria for the third season of "Mozart," in which he also had a cameo.
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It's a handsome set but it doesn't quite work: Mr. Castellucci seems to have conceived Elisabeth as chilly and detached, a kind of Hitchcockian heroine, which doesn't fit the sensitive, easily emotive Ms. Harteros.
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And every episode is directed by TV auteur Sam Esmail (of Mr. Robot fame), who uses the show's puzzle box plot to push his love of meticulously framed shots in a vaguely Hitchcockian direction.
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While some episodes dove into the supernatural (to wit: "The Horla," in which Paul Lukas contends with an invisible demon borrowed from an old French novella), they more frequently landed in an earthbound, Hitchcockian register.
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"In his newest film, the Hitchcockian horror 'Us,' the writer, director, and producer Jordan Peele offers a sharp, often funny meditation on the terrifying power of human connection," wrote critic Hannah Giorgis for The Atlantic.
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Instead, it's a mix of timeworn genre elements (the master detective, complete with tweed suit; Hitchcockian red herrings), wry costume details (Evans' sweaters, Curtis's pantsuits), political commentary (particularly as concerns WASPy liberalism), and star power.
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Though it wasn't exactly a romance, his turn in the Hitchcockian A Simple Favor — in which he plays Blake Lively's character's very suspicious/very handsome husband — almost made us forget that he was a murder suspect.
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Again and again, he also dangles by a single, sweat-slicked Hitchcockian hand as all of Hong Kong anxiously watches his escapades below or on TV, oohing and ahhing in presumptive harmony with the movie's audience.
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He is apparently a figment of Mr. Navarro's imagination — an anagram of Mr. Navarro's surname that the trade adviser created as a Hitchcockian writing device and stuck with as something of an inside joke with himself.
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Described by Johnson as an Agatha Christie-inspired whodunit with a starry cast, a Hitchcockian flair, and a modern American setting, Knives Out centers on a family gathering that goes sour when one member turns up dead.
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One of the photos of Capote, shadowy and composed in the crook of the staircase — "floating upward in white, swan-simple curves to a skylight of sunny amber-gold glass," as Capote once described it — has a Hitchcockian quality.
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The babies had just hatched and I rushed to her condo complex, imagining a Hitchcockian scene of ants swarming the tiny pink, featherless babies, eating them alive in the 20 minutes it took to ride my bike over there.
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Poised somewhere between a Hitchcockian thriller like "North by Northwest" and a classic screwball comedy, Donen's wildly entertaining play on the spy movie is a Technicolor bauble that feels aligned with the emerging spirit of the French New Wave.
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Aida Muluneh, for example, creates bright, painterly photographs using the symbolism and techniques of traditional African body painting, while Anja Niemi shoots film still-like self-portraits (à la Cindy Sherman), in what appears to be a Hitchcockian, Lynchian, surrealist universe.
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Rather than a Hitchcockian cat-and-mouse, victim-murderer chase, an elaborate ménage-a-trois forms between Mr. Robert, Eva and her husband, Josef, with Eva as the devil's muse, a victim whose appetites prove more diabolical than her aggressor's.
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Maureen's lost brother is not the only one: Other ectoplasmic apparitions make themselves known, and without quite preparing you for it, "Personal Shopper" becomes a sneakily effective horror film, complete with a gruesome murder and Hitchcockian flourishes of menace and misdirection.
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And lest you think the Shyamalan connection to Servant's look and feel is coincidental, the executive producer, an admirer of legendary filmmaker Alfred Hitchcock, makes his own Hitchcockian cameo in the very first episode (one of two he directed himself).
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Their carefully coordinated attempts to smuggle those negatives out of the camp is closer to "The Great Escape" than to "Schindler's List," resulting in deceptions, distractions, close calls and a suspense sequence with a hidden film strip that's downright Hitchcockian.
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On the practically Hitchcockian "Siberian Nights," a frantic, yet dreamy soundscape that captures the steadiness of the ever-moving train and the frigidity of Russian winters, he depicts a vivid, sexual story about Vladimir Putin:"He was on my mind," explains Hince.
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Luckily, new research published in Biology Letters which found that birds that live in areas with high human populations (urban/suburban areas) are more territorially aggressive than birds in rural areas might be able to shed some light on this Hitchcockian mystery.
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For as neat as this car is, along with its 7.9-foot glass roof panel, it sort of reminds me of that scene from The Simpsons in which Hans Moleman calls for a large seed bell to quell a Hitchcockian bird uprising at the bird sanctuary.
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So, though the film cranks through its dastardly plot with leering Hitchcockian suspense, though its minor-key piano motif is the soundtrack of a nightmare, the drama My Cousin Rachel is also a bleak comedy about people who make ridiculous mistakes at the altar of love.
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Like Camille, Ms. Adams's character in "The Woman in the Window," a Hitchcockian psychological thriller that debuted at No. 1 on the New York Times best-seller list this year, is another artifact of the "Moody and Introspective" era — she'll play a mentally unstable and pathologically nosy recluse.
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Unlike earlier site-specific fun houses for grown-ups — most notably, the long-running Hitchcockian "Sleep No More" in Chelsea, which takes place in a multistory haunted hotel — this one has been staged entirely on one fairly open level, which diminishes the possibilities of getting lost in a maze.
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The most famous two, both with Hitchcockian premises, are in the middle of the run: "Dekalog: Five" crosscuts between an idealistic young lawyer as he takes a professional examination and the young man who will eventually become his client: a killer who murders without remorse and then is sentenced to death.
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This is a novel that will probably be called Hitchcockian at some point along the way, and that's a reasonable association, but the author's true predecessor (cue that Greek chorus) is a far earlier master of suspense who understood that narrative itself could be the most important character in a whodunit.
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It's a pretty glamorous get-up for her character, a translator whose husband has just been murdered, but this splashy, pseudo-Hitchcockian mystery — with memorable turns by Cary Grant, Walter Matthau, James Coburn and George Kennedy and a lively Henry Mancini score — zips along too amiably and fashionably for such pedestrian plausibility concerns.
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The most famous two, both with Hitchcockian premises, are in the middle of the run: "Dekalog: Five" (Sunday, with "Dekalog: Six") crosscuts between an idealistic young lawyer as he takes a professional examination and the young man who will eventually become his client: a killer who murders without remorse and then is sentenced to death.
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He won critical praise for the romantic comedy "Indiscreet" (1958), starring Ingrid Bergman and Cary Grant; the Hitchcockian comic thriller "Charade" (1963), with Grant and Audrey Hepburn; the manic "Bedazzled" (1967), starring and written by Peter Cook and Dudley Moore; and "Two for the Road" (1967), a romantic comedy written by Frederic Raphael, which starred Hepburn and Albert Finney (who died on Feb. 7).
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Hitchcockian films are those made by various filmmakers, with the styles and themes similar to those of Alfred Hitchcock.
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They inspired a series of films, which the cinematography remembers. The prototype was the hitchcockian Norman Bates (played by the actor Anthony Perkins), protagonist of the Alfred Hitchcock film Psycho (1960).
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During filming, Peppard joked that the film should be called The Running Jumping and Never Standing Still Film.Movies: Harbinger of Neo-Hitchcockian Melodrama LaBADIE, DON. Los Angeles Times 29 Oct 1967: d12.
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Meanwhile, the sound design, featuring samples, muzak, and "Hitchcockian" chords, serves to distinguish scenes. Like "The Harrowing" and "Séance Time", the final episodes of the first two series of Inside No. 9, "Private View" is particularly dark.
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The episode plots are largely thrillers, similar to each other in that characters in each episode have someone or something to fear. The series did not explore supernatural territory. The main focus remained on down-to-earth fear of the psychological, Hitchcockian type.
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Midnight, New Year's Eve: when all the hopes of new beginnings come to life - except for Lindsey and Jeff Pittman, whose strained marriage faces the ultimate test after they cover up a terrible crime and find themselves entangled in a Hitchcockian web of deceit and madness.
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Barnet's postwar work is exemplified by Secret Agent, the first Soviet spy film. The Stalin Prize-winning film was also years ahead of its time in exhibiting Hitchcockian influence and tricks and helped cement Barnet's reputation abroad.Richard Taylor, Ian Christie. Inside the Film Factory: New Approaches to Russian and Soviet Cinema.
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Universal offered him the option of reprising his role as Martin Brody for a Jaws sequel, and would consider his contractual obligations fulfilled if he accepted. Scheider accepted, and Jaws 2 was released in 1978. It was a huge hit. Scheider starred in Last Embrace (1979), a Hitchcockian thriller for Jonathan Demme.
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Director Vicente Aranda tried a more commercial approach for his third film, but he still framed it within the boundaries of the Barcelona School of Film.Vera, Vicente Aranda, p. 62 The first part is Hitchcockian in its development of intrigue and its macabre humor, but in the second half the mystery is explained in detail.
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" He also describes how the film appeals to a variety of audiences: "Fans of Hitchcockian thrillers like it because it's moody and dark. Gorehounds like it for the chest-burster. Science fiction fans love the hard science fiction trappings and hardware. Men love the battle-for- survival element, and women love not being cast as the helpless victim.
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It was Bryan's first venture into West End musical comedy, in which she played Lily Bell, and was a personal triumph. The show's hit songs, sung by Bryan, included "Why Did You Call Me Lily?", "You Never Know With Men", and "It Would Cramp My Style". Bryan appeared in the Anglo-Argentine Hitchcockian thriller, Apartment Zero (1988).
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Frantic (1988) was a Hitchcockian suspense-thriller starring Harrison Ford and the actress/model Emmanuelle Seigner, who later became Polanski's wife. The film follows an ordinary tourist in Paris whose wife is kidnapped. He attempts, hopelessly, to go through the Byzantine bureaucratic channels to deal with her disappearance, but finally takes matters into his own hands.
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Rebecca won the Academy Award for Best Picture, although Hitchcock himself was only nominated as Best Director; he was also nominated for Lifeboat (1944) and Spellbound (1945), although he never won the Best Director Academy Award. The "Hitchcockian" style includes the use of camera movement to mimic a person's gaze, thereby turning viewers into voyeurs, and framing shots to maximise anxiety and fear.
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"It was a really tough struggle for me. Every day, it was me fighting to get the shots I did not get. I had high aspirations, but there's only so much you can do. I wanted to make it in a very Hitchcockian style of filmmaking, but that style of filmmaking takes time to set up and so on", Wan said about the very short shooting schedule.
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Eric's mother, Kitty, typically supports Eric against the wishes of her husband and she often scolds Red for being too hard on him. However, she also does not consider Eric to be a man and often refers to him as her "precious little baby boy." Eric appreciates his mom's support but her overblown displays of affection often leave him feeling embarrassed. At times, Kitty's love for Eric borders on Hitchcockian.
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"Hitchcockian Haberdashery" in Framing Hitchcock: Selected Essays from the Hitchcock Annual, p. 153\. Wayne State University Press (Detroit), 2002. Accessed 14 Jan 2014. It also appears in country singer Chely Wright's song "Alligator Purse" from her 1996 album Right in the Middle of It. In the 1990s the singer Lucy Peach popularized a version of the song with the words "I had a little turtle, its name was Tiny Tim".
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We also see him dealing with his dying uncle and the body of a German soldier that has washed ashore. This is contrasted with life, as represented by his young lover Eva (Eva Stilberg) and eventually their son. In a Hitchcockian digression, Bo hallucinates killing his friend Göran (Stig Olin) to be with his alluring wife (Eva Dahlbeck). Bo and Eva escape to a remote island whose only other occupant is a widowed farmer.
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The final season: the creators apparently knew they were getting canceled throughout the entire production of the final thirteen episodes. Many of the episodes are straight parodies of movies, including three allusions to Hitchcockian thrillers. The bulk of the episodes consist of plots that involve Brendon doing something other than making films. Part of this revolves around Brendon trying to figure out whether he still enjoys making movies, or if it's becoming more of a chore.
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She mentioned The Hitcher script and pitched the Hitchcockian thriller angle. When she returned to L.A., Singer told her that Fuchs agreed to make the film but with the stipulation that the girl would not be torn apart and the violence would be reduced. The film's budget was set at $5.8 million. Over the next few months, the filmmakers negotiated two key scenes in the script: the girl getting ripped apart and the eyeball in the hamburger.
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Garbage as medical personnel in the "Bleed Like Me" video. Directed by Sophie Muller from a concept developed in collaboration with Manson, the music video for "Bleed Like Me" was filmed on April 11 at the disused Linda Vista Hospital in Boyle Heights, Los Angeles. During the filming, CNN interviewed the band and broadcast behind-the-scenes footage of the video. Muller wanted the video "to have a Hitchcockian feel," referencing his works Marnie, The Birds, and Psycho.
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Suspense is often maintained as an important plot element. This can be done through the use of the soundtrack, camera angles, heavy shadows, and surprising plot twists. Alfred Hitchcock used all of these techniques, but would sometimes allow the audience in on a pending threat then draw out the moment for dramatic effect. This genre has ranged from early mystery tales, fictional or literary detective stories, to classic Hitchcockian suspense-thrillers to classic private detective films.
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This forced restraint is widely thought to have increased the suspense of these scenes, giving it a Hitchcockian tone. The studio ordered a sequel early into the success of Jaws. The success of The Godfather Part II and other sequels meant that the producers were under pressure to deliver a bigger and better shark. They realized that someone else would produce the film if they didn't, and they preferred to be in charge of the project themselves.
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Kapadia had a role opposite Sunny Deol in Manzil Manzil, a drama directed by Nasir Hussain. While speaking of her positive experience during the making of the film, she expressed her lack of comfort performing the routine song-and-dance nature of the part. Her work was deemed "ineffective" by Trade Guide, and The Illustrated Weekly reported that her career prospects depended on how well her next projects would fare. Mukul Anand's Aitbaar was a Hitchcockian thriller for which she received positive reviews.
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The second series also garnered a positive reception from critics. John Preston of The Telegraph praised the first episode for successfully ratcheting up the tension with "Hitchcockian precision", and how writer Peter Moffat allowed "the weight of the character's dilemmas to drive the narrative forward". He also acclaimed Maxine Peake's performance as a "marvel". In The Independent Brian Viner hailed the serial as a "well written" and "superbly acted" drama, and noted Moffat's script as "particularly clever" in how it "manipulated [audience] sympathies".
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Ain't It Cool News gave a favorable review for Purification, writing "Decently performed and directed, yet I saw the twist from a mile away, PURIFICATION ain’t all bad." Bryan Cain-Jackson of Technorati wrote in praise on the film, "once in a blue moon, something truly unique comes along that will add a much welcomed shakeup to the current zeitgeist", calling Purification "a profoundly thought provoking film with the best examples of a Kubrickian modern horror piece and a Hitchcockian psychological thriller".
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He then starred in the Flying Lotus music video "Tiny Tortures," where he played a recent amputee coming to grips with his new situation. The psychedelic video was described as "menacing and magical". In 2012, Wood had a supporting role in the romantic comedy Celeste and Jesse Forever, and starred in the horror film Maniac, for which he received the Fangoria Chainsaw Award for Best Actor. In 2013, Wood played the leading role in the Hitchcockian suspense thriller Grand Piano.
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Truffaut's last film was shot in black and white, giving his career a sense of having bookends. Confidentially Yours is Truffaut's tribute to his favorite director, Hitchcock. It deals with numerous Hitchcockian themes, such as private guilt versus public innocence, a woman investigating a murder, and anonymous locations. A keen reader, Truffaut adapted many literary works, including two novels by Henri-Pierre Roché, Ray Bradbury's Fahrenheit 451, Henry James's "The Altar of the Dead", filmed as The Green Room, and several American detective novels.
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Boxoffice Magazine said in praise, "viewers connect to both the relatable pain of everyday injury and the gory gratification of a well-constructed, larger-than-life set piece." NJ.com opined, "Admitted, there is a certain inventiveness to the way director Steven Quale stages the violence." San Francisco Chronicle said that the characters are "killed in gruesome and spectacular ways". The gymnastic set piece has been praised as "anxiety-filled", "a beautiful example of successful comic suspense", "Hitchcockian edge-of-your-seat suspense", and "inventively grotesque". Film.
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The producers were impressed with him and the fact that he also envisioned the film as a Hitchcockian thriller. However, Harmon objected to the eyeball in the hamburger scene and never planned to show the girl getting ripped in half. In early drafts of the script, John Ryder had been described as skeletal in nature and so actors like David Bowie, Sting, Sam Shepard, Harry Dean Stanton, and Terence Stamp were mentioned. Harmon was set on casting Stamp and even carried around his picture to pitch meetings.
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In Dangerous Offender: The Marlene Moore Story (1996), she portrayed Marlene Moore's (Brooke Johnson) lawyer. In 2002, she portrayed Kathleen Sinclair in the TV movie Trudeau about the life of the late Prime Minister Pierre Elliott Trudeau. In 2003 she appeared in Burn: The Robert Wraight Story. Her film roles have included appearances in Crossbar (1979), By Design, Murder by Phone, Deadly Eyes, the Hitchcockian thriller Still of the Night (all 1982), Legal Eagles (1986), Jumpin' Jack Flash (1986), and The Gunrunner (1989), opposite Kevin Costner.
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Thompson had always envisioned the film in black and white prior to production. As an Alfred Hitchcock fan, he wanted to have Hitchcockian elements in the film, such as unusual lighting angles, an eerie musical score, closeups, and subtle hints rather than graphic depictions of the violence Cady has in mind for the family. The outdoor scenes were filmed on location in Savannah, Georgia; Stockton, California; and the Universal Studios backlot at Universal City, California. The indoor scenes were done at Universal Studios Soundstage.
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Though he never won the Oscar for directing, he was nominated five times in the category. Truffaut and his colleagues argued that Hitchcock had a style as distinct as that of Flaubert or Van Gogh: the virtuoso editing, the lyrical camera movements, the droll humour. He also had "Hitchcockian" themes: the wrong man falsely accused, violence erupting at the times it was least expected, the cool blonde. Now, Hitchcock is more or less universally lauded, his films dissected shot-by-shot, his work celebrated as being that of a master.
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The Two Faces of January received mostly positive reviews; it holds an 80% rating based on 122 reviews on review aggregator website Rotten Tomatoes, with an average score of 6.75/10. The consensus states: "With striking visuals, complex characters, and Hitchcockian plot twists, The Two Faces of January offers a pleasantly pungent treat for fans of romantic thrillers." On Metacritic, the film has a 66/100 rating from 30 critics, indicating "generally favorable reviews". Peter DeBruge of Variety wrote that Amini "expertly blends touches of Hitchcock and Highsmith".
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The psychological thriller follows Tom (played by Dolan himself), a man who has suddenly lost his lover Guillaume, to a remote country home for the funeral where Guillaume's family expects a woman in his place. He decides to keep his relations with Guillaume a secret, but finds himself in an unexpected game with Guillaume's aggressive and curious brother. The film was generally well received as a Hitchcockian Montreal psychological drama thriller; suspense and secrets with country landscapes. It was also criticized for Dolan as self-obsessed screenwriter, director, co- producer, editor and actor.
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Variety reporter Brian Lowry noted similar concerns and praised the actors, writing that Traveler "channels the old Hitchcockian standby of normal-guy- thrust-into-fabulous-plot scenario, with the central duo exhibiting realistic levels of fear, desperation and resourcefulness." In contrast, Ray Richmond of The Hollywood Reporter reacted negatively to the show's "implausible" premise and finding that its protagonists "aren't nearly compelling enough to care a lot about." David Bianculli of the Daily News (New York) similarly called the premise "ridiculous" and called the show "nothing to see", negatively comparing it to The Fugitive.
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And you can count on the director John Schlesinger (whose most famous film is Midnight Cowboy and most recent is the efficient thriller Pacific Heights) to bring it to life with a commanding sense of its increasingly complex elements. What begins as a low- key tale of espionage, with allies spying on each other and everybody's motives in doubt, becomes a tense and suspenseful love story with Hitchcockian overtones." Rita Kempley in the Washington Post, on the other hand,Rita Kempley, "The Innocent," The Washington Post, September 2, 1995. called the movie "baffling.
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While the majority of critics have dismissed Something Evil, Neil Sinyard wrote of the film: "Spielberg's direction is nothing short of magnificent. There are splendid montages as mother [Sandy Dennis] paints and creates models and mobiles that will eventually be significant in resisting the evil spells; dazzling dissolves and sinister camera placement for stealthy, apprehensive entrances into fearful places; and [...] a Hitchcockian sense of the moment to throw away explanatory dialogue (the explanation for the house's past) when it is less interesting than the mystery and menace."Sinyard, Neil. The Films of Steven Spielberg.
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Critical reception for The Rosie Effect has been mostly positive and the book was a bestseller in multiple countries. NPR praised the book for not overly romanticizing Don, for achieving a tricky balance, and for its "classic Hitchcockian suspense". Bill Gates included The Rosie Effect as the only novel in his Top Five Books for 2014. The Sydney Morning Herald, which had praised The Rosie Project, published two reviews, one of which criticized the novel as "formulaic" while the second called it "a very funny book, possibly the funniest this year".
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The game's most impressive achievement, as stated by Hansen, was the "thematic cohesion", which was said to revolve around self-imposed isolation. The sound design was lauded to have evoked a Hitchcockian sense of fear. Reviewing Firewatch, Game Informer's Jeff Cork wrote, "I was immediately drawn into the game's world, partly because of the power of its simple text intro, and also because of the novelty of taking part in something so mundane". Cork observed that its interactive dialog, though simple, "breathes life into the game" and called the conversations "natural" and "engaging".
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The film was produced by her company, but instead starred Angelina Jolie and Antonio Banderas. In the Hitchcockian thriller What Lies Beneath (2000), Pfeiffer and Harrison Ford starred as a well-to-do couple who experience a strange haunting that uncovers secrets about their past. While critical response towards the film was mixed, it opened atop at the box office in July 2000, and went on to gross US$291 million worldwide. She then accepted the role of Rita Harrison, a highly strung lawyer helping a father with a developmental disability, in the drama I Am Sam (2001), with Sean Penn.
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Neil Simon cast him in the play The Odd Couple in 1965, with Matthau playing slovenly sportswriter Oscar Madison, opposite Art Carney as Felix Ungar. Matthau later reprised the role in the film version, with Jack Lemmon as Felix Ungar. He played detective Ted Casselle in the Hitchcockian thriller Mirage (1965), directed by Edward Dmytryk. He achieved great success in the comedy film, The Fortune Cookie (1966), as a shyster lawyer, William H. "Whiplash Willie" Gingrich, starring opposite Lemmon; the first of many collaborations with Billy Wilder, and a role that would earn him an Oscar for Best Supporting Actor.
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Arabesque is a 1966 American comedy thriller spy film directed by Stanley Donen and starring Gregory Peck and Sophia Loren, written by Julian Mitchell, Stanley Price, and Peter Stone based on The Cypher, a 1961 novel by Alex Gordon. The film, along with Donen's immediately prior film Charade (1963), is usually described as being "Hitchcockian", as it features as a protagonist an innocent and ordinary man thrust into dangerous and extraordinary situations. It was the last film of that genre which Donen would make. Arabesque was filmed in Technicolor and Panavision and was distributed by Universal Pictures.
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The New York Times critic Bosley Crowther offered a mixed review, praising "the ripening attractiveness of the young British actress Hayley Mills and some beautiful scenery in color on the island of Crete," but calling the film "essentially an entertainment for the younger set." With regard to adult viewers, he noted that "it is a picture in which standard melodrama abounds—the kind that the older observer may find just too bubbling with cliches." Rotten Tomatoes, describing the film as a "distilled Hitchcockian suspense yarn, diluted for the consumption of children", gives it an approval rating of 63%.
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Alan Jones cited Tenebrae as the first film to use this specific type of camera blocking, and believes it to have been copied and referenced deliberately by later filmmakers. One such example, discussed as an unacknowledged "steal" from Tenebrae, is De Palma's "surprise reveal" of John Lithgow standing behind a victim in Raising Cain (1992). Robert Zemeckis's What Lies Beneath (2000) also contains a similar moment, although Zemeckis has denied familiarity with Italian movies. The final death scene in Tenebrae – where Neal is accidentally impaled by a sculpture – is directly referenced in Kenneth Branagh's Hitchcockian murder mystery Dead Again (1991).
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Generally, Haneke's style has been described as displaying "an aesthetics of dread"; a feeling of "existential dread" or "ambient dread" is also present in Caché. The story has been described as a "psychological thriller"; the British Film Institute stated it employs "classical suspense strategies" to enter the thriller genre. Wheatley adds the techniques differ from the Hitchcockian style by withholding information from the audience until characters disclose it, and not being clear as to whether the characters are honest and whether the flashbacks are real. According to Radstone, the style is characterised by "its closed-in camerawork, its aesthetic and narrative concerns with surveillance, its claustrophobic interiority".
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Later works are Contempt (1963) by Godard starring Brigitte Bardot and Michel Piccoli and Stolen Kisses starring Léaud and Claude Jade. Many contemporaries of Godard and Truffaut followed suit, or achieved international critical acclaim with styles of their own, such as the minimalist films of Robert Bresson and Jean-Pierre Melville, the Hitchcockian- like thrillers of Henri-Georges Clouzot, and other New Wave films by Agnès Varda and Alain Resnais. The movement, while an inspiration to other national cinemas and unmistakably a direct influence on the future New Hollywood directors, slowly faded by the end of the 1960s. Brigitte Bardot was one of the most famous French actresses in the 1960s.
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For the filmmaker and drama writing theorist Yves Lavandier, in the strictly Hitchcockian sense, a MacGuffin is a secret that motivates the villains. North by Northwests supposed MacGuffin is nothing that motivates the protagonist; Roger Thornhill's objective is to extricate himself from the predicament that the mistaken identity has created, and what matters to Vandamm and the Central Intelligence Agency is of little importance to Thornhill. A similar lack of motivating power applies to the alleged MacGuffins of The Lady Vanishes, The 39 Steps, and Foreign Correspondent. In a broader sense, says Lavandier, a MacGuffin denotes any justification for the external conflictual premises of a work.
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The use of lighting is important in the cinematography. The top panel shows the light dimming as one oil lamp is placed on a chair in the attic room, and the bottom panel shows the light brightening as Marie correctly replaces that lamp with a second lamp. The film illustrates Rivette's view that the act of watching cinema involves game-playing, day-dreaming and paranoid fantasy. He leaves aside the usual devices of the horror genre—no music, shock sound effects, special effects, or gore—evoking feelings and scenes verbally rather than showing them, yet he does employ Hitchcockian "MacGuffins" such as chance encounters, "clues," and the blackmail plot-line.
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Neil Young of The Hollywood Reporter reviewed the film negatively, commenting that "the impression is that De Palma is indulging himself with homages to his own Hitchcockian greatest hits, with results that veer close to self-parody on occasion and emphasize just how far this once-outstanding director's creative star has plummeted." Robert Abele of the Los Angeles Times called the film a "sleekly trashy misfire". Ed Gonzalez of Slant Magazine gave the film 3 out of 4 stars. Bruce DeMara of Toronto Star gave the film 1.5 out of 4 stars, describing the film as "a pale imitation of the auteur's best work".
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Guilt received strong viewing figures and a highly positive critical reception. The Times called it, “An absolute cracker”, The Observer, “an utter triumph, a word-of-mouth dazzler”, with “welcome Coen brothers echoes”. The Telegraph called it a “stealth hit” which “felt like Fargo relocated to Leith, or Midnight Run reimagined by Irvine Welsh”. The Independent termed it “the unexpected treat of the year”, The Guardian described it as a “darkly delicious tale” that was “fast becoming a word-of-mouth hit”, the Radio Times called it “Hitchcockian” and The Herald deemed it the most impressive Scottish small screen debut since the 1987 comedy drama Tutti Frutti.
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Although Rabe left the writing life for his teaching career, he didn’t stop writing. This led to two unpublished novels probably written between 1987 and 1990, The Return of Marvin Palaver and The Silent Wall. Shortly before his death, Rabe had sent these to writer Ed Gorman in an effort to see them published and in 2010, both works will appear in a single volume from Stark House Press. Rabe may only have written two short stories in his career. One, “Hard Case Redhead,” is an excellent story with a debatable ending, hard core and noirish up to its final paragraph, which gives us an almost Hitchcockian twist ending.
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They thought that this improvement was particularly evident in the scenes of the trek through the Andes in Prisoners of the Sun. They stated that with Prisoners of the Sun, the story had switched into "Hitchcockian thriller mode", a similar technique that Hergé had adopted into a number of previous adventures. They described the character of Zorrino as "basically a Peruvian version" of Chang Chong- Chen, a character introduced to the series in The Blue Lotus. They described the story as "a philosophical parable, perhaps a hidden reflection of Hergé's spiritual yearnings"; in this way anticipating the themes that he would make use of in Tintin in Tibet.
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While working on The Castaway, Zemeckis also became attached to a Hitchcockian thriller titled What Lies Beneath, the story of a married couple experiencing an extreme case of empty nest syndrome that was based on an idea by Steven Spielberg.Petrikin, Chris. "Pairing for Zemeckis: Fox, DW near to sharing next two projects", Variety, 14 October 1998 (accessed 11 September 2007). Because Hanks' character needed to undergo a dramatic weight loss over the course of The Castaway (retitled Cast Away for release), Zemeckis decided that the only way to retain the same crew while Hanks lost the weight was to shoot What Lies Beneath in between.
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The short opens with a shadow of a bear walking up to an outline silhouette of himself and, speaking in a quasi-Hitchcockian accent, announcing, "Tonight, ladies and gentlemen, we bring you a story about...murder." The story opens with Sylvester waiting outside Granny's apartment as she puts Tweety to bed and goes to visit a neighbor. He then sneaks into the apartment and stacks a bunch of furniture to reach the bird cage, but the stack collapses and the fall knocks him out long enough for Tweety to escape. When he comes to, he finds one of Tweety's feathers in his mouth and mistakenly believes that he has eaten him.
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The 39 Steps is another in a line of Hitchcock films based upon an innocent man being forced to go on the run, including The Lodger (1926), Saboteur (1942) and North by Northwest (1959). The film contains a common Hitchcockian trope of a MacGuffin (a plot device which is vital to the story, but irrelevant to the audience); in this case, the designs for a secret silent aeroplane engine. This film contains an Alfred Hitchcock cameo, a signature occurrence in most of his films. At around seven minutes into the film, both Hitchcock and the screenwriter Charles Bennett can be seen walking past a bus that Robert Donat and Lucie Mannheim board outside the music hall.
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Jean-Marc Lofficier and Randy Lofficier called King Ottokar's Sceptre "a Hitchcockian thriller" which "recaptures the paranoid ambience" of Cigars of the Pharaoh. They compared the pace of the latter part of the story to that of Steven Spielberg's Indiana Jones films before noting that despite the "horrors of the real world" that are present with Borduria's inclusion, they do not interfere in "the pure escapist nature of the adventure". Ultimately they awarded it three stars out of five. Michael Farr opined that the adventure has "a convincingly authentic feel" due to the satirical portrayal to Nazi Germany, but that this was coupled with "sufficient scope for invention" with the creation of Syldavia.
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His profession and supply of medication bring to mind "upper-class gentleman serial killers" or "cut-glass accented British actors brought in to play cold killers in Hollywood cinema". The revelation that Maxwell is a murderer is "a satisfying payoff for those who've figured it out", but in the final twist—Jorg's identity—control is taken from Maxwell and, therefore, the audience. Euan Ferguson identified Roald Dahl and Hitchcock as clear influences, and Ellen E Jones, writing in The Independent, saw a Hitchcockian element in addition to Inside No. 9s usual gothic horror influences. Wollaston described the episode as a mix of Dahl's Tales of the Unexpected, Agatha Christie's Murder on the Orient Express and Chris Donald's Viz.
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The Disorderly Women (1969) was a modernization of Euripides' The Bacchae. The Corsican Brothers (1970) was based on the story by Alexandre Dumas père, and the production at the Greenwich Theatre starred Bowen's partner David Cook alongside Gerald Harper. Bowen returned to writing novels in the 80s: Squeak (1983) written from the point of view of a pigeon Bowen and David Cook had tended from a chick; The McGuffin (1984) - a Hitchcockian thriller - was dramatised for television in 1986 by Michael Thomas; The Girls (1986) is a dark story of village life set near his rural Warwickshire home. In the mid 1990s, the BBC commissioned Bowen and David Cook to create the TV detective drama Hetty Wainthropp Investigates, based on Cook's 1988 novel Missing Persons.
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Puthiya Paravai received mainly positive reviews upon release. In a review published on the day of its release, the critic from The Indian Express wrote about the film's central mystery, "[W]hen it is revealed after seven songs[,] a lot of love-play and familiar kitchen comedy, it loses its suspense and does not amount to much." The critic praised the performances of Ganesan and the supporting cast but criticised the comic subplot featuring Nagesh, the dialogue, lyrics, songs and make-up, and concluded, "The photographer and the art director seem to have a weakness for the colour red, but otherwise have done a good job." On 1 October, Dinakaran, writing for the magazine Mutharam, found the film to be truly Hitchcockian.
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Namrata Joshi wrote, "While seemingly giving things away, Raghavan is actually always a step ahead of the viewers in the cat-and- mouse game". Poulomi Das of Arre also gave Andhadhun a positive review, saying; "The film is all about clever writing, top-notch execution, and hard- hitting social commentary – but it is also a triumph of casting, and an ode to actors". Shilpa Jamkhandikar of Reuters said "Andhadhun ticks all the right boxes" that should be "savoured." Kumar Shyam of The National wrote, "Drawing the viewers into multiple situations of right and wrong, black and white and then shades of grey, the climax also ends on a similar note with a deliberate climax, typical Hitchcockian, between salvation and revelation".
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Review aggregation website Rotten Tomatoes gives the film a score of 80% based on 76 reviews, with an average score of 6.8 out of 10. On Metacritic, the film has a score of 74 out of 100 from 22 critics, indicating "generally favorable reviews". Writing for The Hollywood Reporter, David Rooney expressed his compliments on The New Girlfriend: "a delectable riff on transformation, desire and sexuality that blends the heightened reality of melodrama with mischievous humor and an understated strain of Hitchcockian suspense." At Variety, Justin Chang said "even as he (Ozon) heads down any number of tantalizing if borderline-nonsensical alleyways, Ozon maintains his diabolical wit, his infectious sense of play and his essential affection for his characters" and the film was "powered by beautifully controlled performances from Anaïs Demoustier and Romain Duris".
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He got a treatment that pleased him on the second attempt, from writer Whitfield Cook, who wove a homoerotic subtext (only hinted at in the novel) into the story and softened Bruno from a coarse alcoholic into a dapper, charming mama's boy — a much more Hitchcockian villain. With treatment in hand, Hitchcock shopped for a screenwriter; he wanted a "name" writer to lend some prestige to the screenplay, but was turned down by eight writers, including John Steinbeck and Thornton Wilder, all of whom thought the story too tawdry and were put off by Highsmith's first-timer status. Talks with Dashiell Hammett got further, but here too communications ultimately broke down, and Hammett never took the assignment. Hitchcock then tried Raymond Chandler, who had earned an Oscar nomination for his first screenplay, Double Indemnity, in collaboration with Billy Wilder.
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Had the show not telegraphed that — or had I not figured it out — and Don woke up the next morning with no corpse on the floor, I'd have been irked." One writer for Paste Magazine noted that the "brilliantly shot" episode had a "Hitchcockian feel", and pointed to the use of "reverse point-of-view shots" and "close-ups of hands on doorknobs that added an air of suspense not usually present on Mad Men." Eric Goldman of IGN declared it the "best episode yet for Season 5, with some very good material for Joan, Peggy, Don and Sally packed into a busy hour." Goldman praised the resolution to the Harris marriage, crediting Weiner with mastering "the slow burn on this show, and it was just so gratifying to finally have this issue be dealt with.
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In 1975, Schneider was cast opposite Jack Nicholson in the well-received Michelangelo Antonioni film The Passenger, which remains one of the highlights of her career, and was the personal favorite of the actress. That same year, Schneider also starred in René Clément's final movie, the Hitchcockian thriller Wanted: Babysitter, in which, according to Maria, the director actually wanted the actress for the villainous role; yet, when Antonioni screened The Passenger for him, Clément decided that Schneider would be ideal for the heroine. The picture, produced by Carlo Ponti (as with The Passenger and Dear Parents) and also featuring Robert Vaughn, Vic Morrow, and Sydne Rome, went largely unnoticed by the public and critics alike. During the '70s, Schneider traveled (including to the Hopi Reservation and Navajo Nation) and lived in various parts of Europe, including Venice, Paris, and London.
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Michael Farr described both The Seven Crystal Balls and Prisoners of the Sun as "classic middle-period Tintin", commenting on their "surprisingly well-balanced narrative" and noting that they exhibited scant evidence of Hergé's turbulent personal life. He felt that The Seven Crystal Balls encapsulated the "air of doom" which pervaded the mood of Europe at the time to an even greater extent than Hergé had done in his earlier work, The Shooting Star. At the same time, Farr thought it to be "a simple detective story", comparing Tintin's hunt for clues regarding Calculus' disappearance to Arthur Conan Doyle's stories of fictional detective Sherlock Holmes. He thought that the story was "truly Hitchcockian in its suspense and quite cinematic in its presentation", comparing the use of the music hall in the story with its use in Hitchcock's film, The 39 Steps (1935).
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The New York Times reviewer wrote, "Four Just Men, by Edgar Wallace, whatever it might have been, was probably not a work of literature, and therefore, on that charitable assumption, it is gently, rather than harshly, that one must deal with the British-made screen version, now on view at the Globe Theatre. Like all pictures seeping over from England nowadays, it is more than a little infected with the virus propagandistus, but, over and above that common-carrier failing, it is a model of sheer incredibility crossed with what (carrying out the charity idea) we might designate as espionage melodrama". According to a writer for the Radio Times decades later "it defiantly suggests that Britain could never fall under the sway of a dictator. But in all other respects it's a rollicking boys' own adventure, with some of the most fiendishly comic-book murders you will ever see... hugely entertaining sub-Hitchcockian antics".
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As distinct from the trope of crime functioning as a break from the boredom of the mundane for the Hitchcockian ordinary man "excitingly" caught up in it, the interjection of crime in the lives of the characters of The Man from London is a phantom occurrence for those burrowed into the center of the mundane details of their lives. In other words, Tarr's film suggests the possibility that it is only on an abstract plane that murder committed by and on strangers causes a stir and demands an investigation. In this context, it is fitting that the investigation must be undertaken by a stranger, the man from London, since abstraction entails distancing from an enveloping context. Only the appearance of the man from London, Brown, impels Maloin to struggle with his de facto alienation, as an ordinary man, from moral principle, an alienation linked, counterintuitively, to the absence of desire in his daily grind.
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The early Q. Patrick detective stories generally follow the Golden Age "whodunit" conventions, with elaborate puzzle mysteries reminiscent of Agatha Christie or John Dickson Carr. From the time when Wheeler joined the writing, the stories become more psychologically acute, with increasingly realistic, fleshed-out characters. In the 1940s, the stories start to move away from the traditional detective pattern: Puzzle for Fiends is a Hitchcockian thriller, Puzzle for Pilgrims a film noir in written form, and Run to Death a pulpy spy novel. The majority of the Webb–Wheeler collaborations feature one of their recurring characters: Peter Duluth, a Broadway director, WWII veteran and recovering alcoholic who, with his wife Iris, always seems to stumble across murders; Inspector Timothy Trant of the New York City Police, a Princeton University-educated dandy whose remorseless investigations often seem to be aimed at some innocent person before he reveals his real target; and the country doctor, Dr. Hugh Cavendish Westlake with his daughter Dawn.
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Don't Look Now is particularly indebted to Alfred Hitchcock, exhibiting several characteristics of the director's work. The aural match cut following Christine's death from Laura's scream to the screech of a drill is reminiscent of a cut in The 39 Steps, when a woman's scream cuts to the whistle of a steam train. When John reports Laura's disappearance to the Italian police he inadvertently becomes a suspect in the murder case they are investigating—an innocent man being wrongly accused and pursued by the authorities is a common Hitchcock trait. The film also takes a Hitchcockian approach to its mise en scène, by manifesting its protagonist's psychology in plot developments: in taking their trip to Venice the Baxters have run away from personal tragedy, and are often physically depicted as running to and from things during their stay in Venice; the labyrinthine geography of Venice causes John to lose his bearings, and he often becomes separated from Laura and is repeatedly shown to be looking for her—both physical realisations of what is going on in his head.
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Warren and Alan Jones cite a scene where a character is killed in a public square as evoking the work of Alfred Hitchcock; Rostock agrees that the editing of the sequence is in a Hitchcockian vein, while the lighting is more influenced by Michelangelo Antonioni. The film critic and author Maitland McDonagh argues that Argento's influences for Tenebrae were far broader than just his own films or previous Italian thrillers. She refers to the strong narrative in the film as an example of "the most paranoid excesses of film noir." McDonagh suggests that Fritz Lang's Beyond a Reasonable Doubt (1956) ("in which a man convicted of murder on false evidence ... is in fact guilty of the murder") and Roy William Neill's Black Angel (1946) ("in which a man who tries to clear a murder suspect does so at the cost of learning that he himself is the killer") both use such a similar plot twist to Tenebrae that Argento may have used them as partial models for his story.
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