[97]
Second viewing, up from 87 and now I’m able to confirm that not only is this my favorite Hitch, but it would also rank highly among my personal favorite films of all time. Floored again by the dual purposing as both a spy thriller and a sadomasochistic love triangle, the former illuminated by classic Hitchcock signposts—an exquisite crane down from the ceiling to Alicia’s fist, a languid pan across various wine label vintages, the shot of a poisoned woman…
[92]
Up from 75. Revisited this in January and had several false starts attempting to write an updated review that was adequate enough to capture why I think this is one of the most misunderstood films of all time, and also one of the greatest. (Or pretty high up there, anyway.) Never completed that review, obviously, but did end up rewatching this a third time and find myself compelled to, at the very least, update my score to reflect my…
[49]
Problem one: Sirk’s rousing sensibilities are tailor-made for heavily internalized, emotional conundrums like e.g. the incertitude of how friends and family will react to your new young-stud boyfriend; a sudden obsession with philanthropy catalyzed by a tragically serendipitous love interest; or crippling impotence engendered by paternal abandonment, envy, and alcoholism. But sociopolitical examinations of race and gender equality? Not so much. And I’ve floundered in producing a steadfast reason why I find this to be the case. The best…
[73]
Everything you’d expect from a primetime soap opera—alcoholic, aggressive son; self-destructive, flirtatious daughter; callous, inattentive father; troublesome object of affection; lifelong family friend and parttime schnook caught in the middle—but shaped gracefully by Sirk’s expressionistic fortitude and stunningly conflicted lead performances from both Rock Hudson and Robert Stack. The unrelenting melodrama can be occasionally unnatural and sour, like Marylee, lakeside, bordering on orgasm as she reminisces about her childhood with Mitch, or Lucy’s infinite well of patience toward Kyle’s…
[57]
I am frankly sick and fucking tired of this movie and the dichotomy it has created within the film community. You’ve got a surprising majority of people claiming it’s a cinematic masterpiece - the next CITIZEN KANE, 10/10, A++, “would let Chris Nolan fingerbang my senses again” - alongside a smaller but equally vocal minority lamenting that it’s the most vile, disgusting, contrived, and overrated waste of space ever created. With all respect, I will never understand people who…
