Hello, greetings, howdy, and welcome back – yet again – to Weekly Hitch! This is a personal study-type blog in which I watch all of Alfred Hitchcock’s movies, in order, and then try to work out if they’re great and how they were made and what we can learn from them. It’s like going to school, only I won’t send anyone to the principal’s office for passing notes.
This week, our last week of the 1930’s and the last of Hitchcock’s British period, brings us to the troubled, odd, and curious tale of Hitch’s 1939 period melodrama Jamaica Inn – starring the very famous Charles Laughton. Are you ready for adventure?
After a couple months spent writing for a television show with nary a moment to watch amazing old movies, I am returned to the trail – and ready to carry on with the twenty-first week of Weekly Hitch, a project type thing in which I watch all of Alfred Hitchcock’s films in order and try to think about them – and what might be my favourite of all Hitch’s movies.
This week brings us to Hitchcock’s penultimate British film – and one of his most enjoyable, clever, funny, exciting, and satisfying films – 1938’s The Lady Vanishes. It’s a great film made even more poignant by the times in which it was made. So all aboard for adventure!
We’re back – finally – after a slight hiatus and a rather hectic couple weeks at a new job, with the twentieth week of Weekly Hitch! This is a film blog wherein I watch and think about all of Alfred Hitchcock’s films in chronological order, and then I write about them here and you read half the post and then sort skim to the end and maybe look at the pictures.
This week Hitchcock brings us the light and fun and thrilling adventure/romance of 1937’s Young And Innocent. It’s a pleasure of a movie and one of the best of Hitch’s mid-thirties thrillers and the perfect palate cleanser after the paranoid panic of Sabotage.
It’s that time again, time to dive into the past and look back at the films of Alfred Hitchcock – at the reasonable rate of one a week – which is what this blog does, and what I do along with it because I write it and also I don’t want the blog to get lonely.
This week we’re in the solid middle of six British suspense films that Hitchcock made in the 1930’s and a very solid entry into what I would call his “domestic thrillers” with a look at darkness and light in Sabotage.
And we’re back, once again, and welcome to week 18 of Weekly Hitch, a film-studies blog wherein I watch all of Alfred Hitchcock’s movies – in chronological order – and then I write about them, also in chronological order because that’s just how things happen in the world due to the relativistic nature of time and whatever.
This week, Hitch and us are riding high off the success of The 39 Steps and straight into a nearly forgotten and constantly overlooked espionage drama, 1936’s Secret Agent. So get ready for intrigue and drama, in a world where nothing is what it seems!
Hello there, and welcome back to the seventeenth week of Weekly Hitch! This is a film-studies blog-type project wherein I watch every single one of Alfred Hitchcock’s movies, in chronological order, and then write about them in a way that probably only makes sense to me and maybe other slightly deranged people.
This week we follow up Hitchcock’s breakthrough thriller The Man Who Knew Too Much, with the smashiest smash hit The 39 Steps. It’s the film that really put Hitch on the international map, and you do not want to not read why I think you shouldn’t not see it. If you get what I mean.
It’s week 16 at Weekly Hitch, a film-type blog where I watch all of Alfred Hitchcock’s movies in chronological order, no matter what they are, and then I talk about them and tell people what I think. You’re people.
This week Hitchcock turns a corner and we turn it with him as I watch 1934’s classic, exciting, and only slightly flawed thriller The Man Who Knew Too Much. So read on, and see how much he knew!
Hello, and welcome back to Weekly Hitch. This is a film studies style blog where I watch all of Alfred Hitchcock’s films in chronological order and then I write about them, usually in a meandering and unfocussed way that I then later find irritating, but all the same at least I’m not out doing crimes or whatever.
This week, my 15th (!) week on the project, we dance our way in to a movie that Hitchcock described as “the lowest ebb” of his career – and also one of the films that stands out as the most atypical for the director. It’s a musical-operetta-comedy-period-biopic about Johann Strauss, and it’s called Waltzes From Vienna.
It’s another week and another Hitch here at Weekly Hitch. This is a blog-type project in which I watch all of Alfred Hitchcock’s movies, in chronological order, and then dissect them like a frog in a high school biology class – except, unlike the frog – the movies will live on forever.
This week, my 14th on the project, brings us to the much derided and curiously uneven crime thrillerish sort-of-comedy Number 17. So, welcome, and let’s begin.
It’s lucky week 13 here at Weekly Hitch, which is a film studies blog wherein I watch every one of Hitchcock’s movies, in chronological order, and then I write about them and what I think about them. Sort of like a book report, but instead of books – which don’t move, I write about films – which do.
This week we’re taking a look at Hitch’s 1931 comedic travelog Rich and Strange, adapted by Hitch and Alma from a novel by Dale Collins. It’s a light and frivolous movie, and only slightly removed from plausibility, so here we go with Rich And Strange.