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.
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 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 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.
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.
Welcome to the second week of Weekly Hitch, in which I watch most of Hitchcock’s movies in chronological order for a year and then try to make you read about it. Fun, right?
For week two of the project we arrive at Hitchcock’s third film, 1927’s The Lodger: A Story of the London Fog. Hitch’s second film, The Mountain Eagle, is considered lost and may never be seen again – so we had to skip over that and continue on with a really great and pivotal film – a movie that Hitch himself would later call “the first true Hitchcock picture.” So let’s get the week underway with, The Lodger.