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!
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.
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!
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.
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.