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.
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 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.