Hello! And another happy welcome to the increasingly-inaccurately named Weekly Hitch. This is a blog wherein I attempt to watch all of Alfred Hitchcock’s films in order, at about a movie a week, and then I write about them sporadically because life is hard.
This week, Hitchcock takes a step back from the comedy of Mr. & Mrs. Smith and heads for the safer harbour of romantic melodrama, with the very Rebecca-like and Joan Fontaine-starring RKO marriage tale… Suspicion.
Hey there, and welcome back – for the twenty-fifth time – to Weekly Hitch. This is a blog where I watch all of Alfred Hitchcock’s movies in chronological order, no matter what they are, and then I try to work out why they’re good – if they’re good – and how they got that way.
This week, Hitchcock tackles one of his few outright comedies – with the amusing, American, and altogether unlikely screwball romance Mr. & Mrs. Smith.
Hello! And welcome back, if you are indeed back, to Weekly Hitch. This is a film studies type project in which I watch all of Alfred Hitchcock’s films, in chronological order, and then I write about them and sometimes friend and family read what I write because they’re kind.
This week I’m watching Hitch’s second American film, but personally – I think it would be more accurate to call it ‘The First American Hitchcock’, because while it was made after Rebecca, this week’s film is far more like the British master we’ve come to know. So buckle up for war! Excitement! Thrills! Romance! It’s 1940’s Foreign Correspondent!
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?
Hello again you wonderful people, and welcome back to Weekly Hitch – a blog sort of thing, in which I watch every Hitchcock movie and then try to work out what makes them good, or bad, or ugly.
This week Hitchcock returns to suspense and thrills with one of his very few actual “who-done-its” – the pleasant, but uneven 1930 film, Murder!
Hello again, whoever you are, and welcome to week ten of Weekly Hitch – a film studies blog in which I watch all of Alfred Hitchcock’s movies, in chronological order, and then talk about them into a computer. It’s like having a friend show you slides of a trip to Italy, but instead of slides it’s opinions and instead of Italy it’s old movies.
This week, we enter the 1930’s with Hitchcock’s adaptation of one of Ireland’s most famous plays – there’s religious symbolism aplenty and lots more experimenting and adapting to sound. So let’s begin, with 1930’s Juno And The Paycock.
It’s lucky number seven at Weekly Hitch, as I continue my quest to watch pretty much all of Alfred Hitchcock’s movies in chronological order and with a violent and angry panther gnawing on my leg. Except without the panther.
This week we watch one of the oddest and most curious instalments in Hitch’s body of work, and one which he would later remember as, “the lowest ebb of my output.” But does the film deserve such harsh reflection, or is it just a bubbly and frothy cocktail of joy? We shall find out, with Hitchcock’s 1928 silent comedic-drama – Champagne.
Welcome back, if you are indeed back, to week five of Weekly Hitch – the blog in which I watch as many of Hitchcock’s films as possible, in chronological order, and then analyze them in far too much detail, while also being not quite insightful enough. Basically, it’s like a film nerd’s podcast, but written down.
This week, we journey with Hitch to a new film company – a new producer, new actors, new cameraman, and a new writer… Hitchcock himself! It’s an impressive, and expressionistic feast for the eyes – it’s 1928’s The Ring.