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 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.
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 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.
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.
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.
Hello again, and welcome back to Weekly Hitch – the blog wherein I watch all of Hitchcock’s movies in chronological order and you read, like, half a blog-post and then skim a bit because seriously who has time for this?
This week I watched Hitchcock’s last official silent film, and his first real adaptation of a novel, 1929’s religious-allegory/morality-tale/melodrama The Manxman. So buckle up, because things are about to get Hitchy.
Welcome back to Weekly Hitch, where I watch most of Hitchcock’s movies in chronological order for a year and then try to make you read about it. It’s like having a friend who is a huge movie-nerd, only you don’t also have to come to my birthday party. (Please come to my birthday party)
Four weeks in on the project and we are still just 2 years into Hitch’s directing career – as we plunge into a emotional and moralistic world in Hitchcock’s 1927 silent film dramatization of Noel Coward’s play Easy Virtue.