Alfred-Hitchcock
There’s no question that the author of “Criss-Cross” approaches “Strangers on a Train” from a gay-centric viewpoint.
To his credit, Mark Cousins does provide some insights into Alfred Hitchcock’s motifs and obsessions, from doors to staircases to creepy, dank interiors crammed with gizmos, gewgaws, and cobwebs.
Please don’t get on a plane for Thanksgiving. Avoid Covid by eating your turkey dinner before your computer screen, and watching — all free! — these handpicked classic movie entertainments.
Dan Callahan has crafted an entertaining and illuminating guide to understanding Hitchcock’s relationship with some of the most iconic actors of the day.
The best discussions are of Vertigo, with David Fincher, the most effective directorial voice of all those interviewed, leading the way.
by Bill Marx The schizophrenia is instructive if somewhat dizzying. At the Calderwood Pavilion, the Huntington Theatre Company kicks off its season with “The Atheist,” a cynical exercise in scatological anti-heroism about a sleazy reporter who blackmails his way to fame. On its main stage at the Boston University Theater the HTC wallows in PG…
Film Commentary: The Heights and Depths, the Rise and Fall, of Hitchcock’s “Vertigo”
In the end, what strikes me most about “Vertigo” is its melancholy, its aura of grief, its mood of inevitable, irredeemable loss.
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