Hello! And welcome back once again, to Weekly Hitch. This is a film-studies sort of blog in which I watch all of Alfred Hitchcock’s movies in chronological order and then write about them and try to learn things. It’s like a hobby, only I try make other people join in against their will.
For week 23 here at Weekly Hitch, we – and Hitchcock – enter the 1940’s and move to America for Hitch’s biggest, and possibly best film yet. It’s a classic tale of romance and suspense, and teamed Hitch up with one of the great producers of the age, David O Selznick. So, read on if you like, as I learn about 1940’s Rebecca.
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!
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.
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 once again, and welcome back to Weekly Hitch. This is a film studies project sort of thing in which I watch all of Alfred Hitchcock’s films, in chronological order, and then analyze them to the best of my meagre ability. It’s sort of like I’m going to a very weird film school, and you have to read all my homework.
This week, our last week in the twenties, also brings us our very first film with actual synchronized sound – and brings Hitchcock back to form (and to murder) with a morally ambiguous and rather startlingly raw thriller with 1929’s Blackmail.