Growing up, Alfred Hitchcock featured heavily in my T.V. watching diet. I started off on repeats of The New Alfred Hitchcock Presents, the remake of his 1960's t.v.show. The minute that iconic caricature (drawn by the man himself) and music (Funeral March Of A Marionette) would hit, I was hooked. Sure, I was young and much of the story would go over my head, but I was enthralled by the tales of murder and suspense they weaved. For those who know me, this might explain alot. Going into my teenage years, I discovered there was a whole wealth of Hitchcock movies waiting for me to discover, and discover I did, starting with his classic, Psycho, based on the real life murders of serial killer Ed Gein, who, incidentally, would go onto to inspire The Texas Chainsaw Massacre and Silence Of The Lambs. This brings us nicely to Sacha Gervasi's (Anvil: The Story Of Anvil) Hitchcock, based on the rather self explanatory titled book Alfred Hitchcock and the Making Of Psycho.
Considering the dark matter being explored in Psycho, Hitchcock is quite light, dividing focus between the making of the movie, and the relationship between the Master of Suspense (Anthony Hopkins) and his wife Alma Reville (Hellen Mirren). It delves deeply into both these story strands, chronicling Hollywood Studio's initial disgust at backing a movie based on a man who, amongst other things, covered his chairs with human skin, forcing Hitchcock to finance the movie himself. This puts even more strain on a relationship already at breaking point due to his obsession with his leading ladies, and the fact he is always searching for the "Hitchcock blonde". I may be biased, but the movie works best when it focuses on Psycho. It's not to say Alfred and Alma's story isn't an interesting one, but the pace slows somewhat when they take centre stage, which is of no fault of the actors who play their roles impeccably, and these scenes lack the energy of seeing Hitchcock direct his iconic shower scene, or battling the censor board on whether or not he can show a toilet on screen.
Gervasi does a fine job with directing, keeping the audiences interest from the opening shot. Like Hitchcock, his style is playful, and almost mimics his subject in places, through certain shots and use of music, and peppers proceedings with little nods to the Hitchcock fans in the audience. A well written script also keeps things lively, wonderfully sending up the ridiculousness of Hollywood at the the time (I mention again: the censor board wanted him to cut showing a toilet on screen), and there are many wonderful lines that will raise a chuckle. Where the movie stumbles is when it delves into the mind of Hitchcock, showing his psychoses manifest in the form of an hallucination of Gein (Michael Wilcott). These scenes really took me out of the film, and were in direct conflict with the realism the movie seemed to be going for. There is also a subplot involving Hitchcock's relationship with actress Vera Miles (Jessica Biel) that feels woefully underdeveloped. There was the seed of an interesting arc there, but it sadly fizzles out.
In the lead, Hopkins does a stellar job, the only niggle being the voice is slightly off. Under a mountain of prosthetics and a fat suit, he captures the essence of Hitchcock perfectly, all cheekiness and massive ego. At times, he doesn't even have to say anything, conveying all you need to know with one look. It's obvious Hopkins is having a blast in the role. This is especially apparent in a wonderful scene where he 'conducts' his audiences screams. He plays wonderfully off Helen Mirren, giving their character's a spiky, but loving, relationship. Their verbal sparring stealing the show at times. Mirren is also on top form, but then again, isn't she always? Reville is a deceptively strong character, Hitchcock's equal, but was always seen as just his wife. Mirren plays the frustration at this extremely well. There is some good support from the likes of Scarlett Johansson and Danny Huston, but really, this is Hopkins and Mirren's show.
While it might fudge a few of the facts in the name of entertainment, this is a entertaining look at the creation of a real cinematic classic. It may stumble in places, but a fantastic cast and a great script make this a fun night at the cinema. You could almost say, you would be psycho to miss it! (I am so, so sorry).
