pink and purple love⋆.∗̥✩⁺will continue to add
*and thanks so much to letterboxd.com/deedeee/ for continuing to recommend hoards of pink…
A struggling actress tries to help a friend prove his innocence when he's accused of murdering the husband of a high society entertainer.
I never hope to be appreciated. Yes, your mother cured me of that.
An Alfred Hitchcock film that has the distinction of containing a big plot element that he later considered one of his biggest regrets. To say what it is would be a spoiler, but I'd like to point out that the twist of the film wasn't well received in 1950 because it was something never done before. Another famous film would do something very similar 45 years later but take it to it's utmost extreme.
It also has to be said that even though Hitchcock was one of the greatest directors to ever live, his…
Silly, arbitrarily-plotted Hitch film, set in London, his first British movie after leaving for Hollywood a decade earlier.
Jane Wyman is a stage-struck kid who risks it all for the man she loves (Richard Todd) after he's framed for murder by his lover (Marlene Dietrich), getting entangled with the investigating officer (Michael Wilding) and going deep undercover as a maid, with the help of an extraordinarily bad Cockney accent.
The story is so scatty that it seems as if they came up with the set pieces first and then just tried to tie them together - the director and his writers did sometimes work that way, successfully on North by Northwest - the balance of comedy and tension is never…
#18 in the Reverse Hitchcock project.
A very British cast (Richard Todd, Joyce Grenfell, Michael Wilding, the wonderful, wonderful Alastair Sim, Sybil Thorndike, Kay Walsh) join Marlene Dietrich and Jane Wyman in this mystery thriller which starts strongly with a flashback concerning Todd and Dietrich and the death of her husband.
With a bloodstain on her skirt like a flower (that dress will reappear later, more prominently) the divine Miss D (who was around fifty at the time) exudes glamour under adversity; and when we realise she is an actress we realise she is naturally stagey and able to give a performance.
Sending Todd to go back to the house of death seems to be putting him in the frame,…
This review may contain spoilers. I can handle the truth.
Stage Fright is a delightful little thriller in which an aspiring actress plays amateur sleuth to get her lover off a murder charge - only to go off-script midway through. Lesser Hitchcock? Maybe, but that's not saying much. Sure, Hitchcock himself walked away from this one in later years, politely assenting to Truffaut's harsh criticisms. But Hitchcock should have given himself more credit. It has absurdities, I concede, and you might strain your neck following the twists and turns, but for me scene after scene is alive with magnetic acting, heartfelt comedy, and thrills to stir the soul. Indeed, to my mind, it's one of Hitchcock's most fascinating films, a sublime dialogue about the illusions of acting, the delusions of…
At the time of its release, the now common yet then unprecedented and out of place "twist" caused much public debate and it led to Hitchcock referring to the addition of the twist as his second greatest mistake, behind the death of the little boy in Sabotage. Over time, such an ending has become common and by today's standards, despite mixed reviews even today, I find Stage Fright an entertaining film with a great mix of thrills and laughs.
The film begins in such an interesting way, with a man and woman driving away from the police. From here, flashbacks reveal what has happened earlier and how such events came to being. It's a truly engaging and original opening by…
The theme of deception in Hitchcock is explored in all of this films, both as a stamp of his directorial authorship and as an element that exists within the narrative. Role-playing, in particular, crops up often–Alicia posing as Sebastian’s lover in Notorious, Scottie’s obsession with recapturing the past in Vertigo, the strange case of Norma Bates. If Stage Fright has not maintained the reputation of the director’s greatest work, it is nonetheless an indispensable artifact in the analysis of Hitchcock in that the theme of deceit is foregrounded with an impertinent cheekiness, amounting to what might be the purest example of Hitchcock’s obsession with the fraudulence of cinema. Nearly every element in the film involves, if not direct role-playing (a…
While watching this there are two things I noticed:
1) Wyman's hair.
2) Wyman as Nancy Drew
This is probably the most un-Hitchcock film I've ever seen. If ever had a chance to make a Nancy Drew film this is it. Sure it's pretty good for the most part and you have to applaud Wyman for her good acting especially next to Dietrich who owns her role, but in general the film isn't anything flashy. Or memorable. I had never seen this shown on TCM until I recorded it. The twist in this was a bit out of the blue but had me in shock. I WAS SHOOK.
Dietrich is Dietrich, but Hitchcock is clearly not on his game here. It's all a bit of a mess, and feels terribly old fashioned. Good death at the end though.
Stage Fright (1950) is een intrigerende Hitchcockfilm die het prachtige theater en zingen van die tijd combineert met een spannend verhaal.
Undervalued as "minor Hitchcock" - which it is, but a great deal more interesting than that implies. It's unfortunate that the thing it's best-known for is exactly what you'd least want it to be best-known for, to preserve the integrity of its ending, but there's still a lot of pleasure to be gained from the meta-theatricality of the knowingly overbaked performances, especially from a thoroughly plummy Alistair Sim.
I don't know why this has so many bad reviews. It wasn't perfect, and it wouldn't be the first Hitchcock movie I'd recommend to people, but I really enjoyed it! It kept me guessing, and I certainly didn't expect that ending.
The scenes with Alastair Sim were my favorite! Love him!
Maybe considered one of Hitchcock's lesser films, and on the surface it is, but contextually or sub-textually there is still quite a lot going on here to make it quite interesting if you want to take a closer look. In a lot of ways it's very similar to his films from the 30s, it's London setting, man accused of a crime he didn't commit, but Hitch has a few tricks up his sleeve and things turn out a bit different than you may at first suspect.
The whole movie is packed with allegories of acting and directing. Watch for the many instances of people playing a part or instructing others to play whatever part. Hitchcock's daughter Patricia was at the…
Definitely not the first Hitchcock film I would recommend.
Hitchcock's return to Britain is surprisingly low-budget - it looks like it could have been one of his '30s films. And the plot seems convoluted; it's difficult to tell the different characters' motives, but not in a Film Noir ambiguous way, but rather in an overcomplicated one.
Nonetheless, it's an interesting idea to have an aspiring actress to create a facade with which to do her own sort of investigation. There are certainly interesting things going on here, but unfortunately the screenwriting isn't up to the task. And the most frustrating aspect of the film is the naive protagonist's insistence on defending the unscrupulous actor on the lam, no matter how often he disrespects her.
Hitch + Dietrich= a winning combo plus jane wyman makes this suspenser among Hitch's best efforts
Amnesia is one of the most artificial cinematic devices and yet we tend to suspend our disbelief without question. I…