Distributor: Shout Factory
Release Date: February 27, 2018
Region: Region A
Video: 1080P (MPEG-4, AVC)
5.1 DTS-HD Master Audio
2.0 DTS-HD Master Audio
Subtitles: English, Spanish
Note: This release comes with a DVD disc that is housed in the same case.
“Of course, you can’t talk about the shower scene without talking about Psycho, and you can’t talk about Psycho without talking about Hitchcock, and you can’t talk about Hitchcock without talking about other films that influenced him, or films that he influenced, and so on. But everything in 78/52 was very carefully designed to be always, always, always about the shower scene.” -Alexandre O. Philippe (Michael Gingold, Rue-Morgue.com, October 18, 2017)
A lot of people may be asking themselves why anyone would devote a ninety-minute documentary to a single scene, but ninety minutes wasn’t nearly enough to do a proper job if Alexandre O. Philippe’s 78/52: Hitchcock’s Shower Scene is any indication. The shower scene is one of the most audacious scenes in cinema history, and it affected the viewer like a surprise punch to the solar plexus without infuriating them. That takes some doing. Unfortunately, the scene (and in fact the entirety of Psycho) has been parodied, ripped-off, discussed, analyzed, and even re-made so many times at this point that it is probably impossible for the majority of people to experience the scene in that same manner any longer.
In any case, the shower scene deserves to be studied. It is a remarkable moment in a terrific film. 78/52: Hitchcock’s Shower Scene attempts to dissect the reasons this influential scene was so effective. Philippe should certainly be applauded for his effort, but the end result doesn’t quite meet these intentions. The film’s first misstep is the ham-handed re-enactment of Marion Crane’s fateful drive to the Bates Motel. It wasn’t at all necessary and merely serves to distract and irritate those who love the film. However, the most discouraging aspect of this documentary is that it never rises above what people might find in a well-made Blu-ray supplement. It even carries a number of the same flaws—and the most notable of these flaws concerns some of the interview participants. For example, one would assume that a film seeking to dissect one of Alfred Hitchcock’s most infamous scenes would include a greater pool of legitimate authorities on either Hitchcock or cinema in general. The presence of Stephen Rebello, Bill Krohn, David Thomson, and Peter Bogdanovich was probably supposed to fulfill this requirement, but none of these people are prominently featured in the film (although Rebello fares better than the others). Worse, they don’t provide very much insight during the few moments that they are actually featured. Some might point out that Guillermo del Toro can be seen as an authority on Hitchcock (and his contribution is more than welcome).
Unfortunately, competent theorists are buried by participants that have absolutely no business being in the film at all. Such individuals pollute the entire duration of 78/52, and few of them actually add anything pertinent about the subject at hand. For example: Could someone please explain why Elijah Wood, Illeana Douglas, and Eli Roth are featured in the film? How could any of these people be considered an authority on Alfred Hitchcock? Elijah Wood doesn’t even seem to have seen North by Northwest! He looks completely lost when the film is mentioned and later seems surprised to learn about the film’s infamous final shot. Eli Roth throws Hitchcock’s name around quite a bit in his publicity interviews and commentary tracks, but nothing in his films suggest that he has learned anything from him (except perhaps on the most superficial level). The inclusion of such individuals only serve to remind the audience that the statements made throughout the piece can’t be taken seriously. Their very presence undermines the validity of what is good in the film (and it does have its virtues).
Marli Renfro’s participation is especially appreciated. Her voice is one that has largely been excluded from previous documentaries about Psycho. She recalls what it was like to double for Janet Leigh in the shower scene, and one imagines that some of her recollections will be new discoveries for many viewers. Leigh discusses the scene in some very interesting archival footage from Laurent Bouzereau’s The Making of ‘Psycho, and Tere Carrubba, Jamie Leigh Curtis, and Oz Perkins are also on hand (although their contributions are nominal).
A large number of contemporary filmmakers have been brought in with somewhat mixed results. Justin Benson, for example, doesn’t seem to bring much more than snarky comments about the film to the table, while some of Bob Murawski’s valuable comments are undermined by his tendency to keep criticizing the shape of Mrs. Bates’ head. Murawski is an editor that has worked on a number of films (including a good number of Sam Raimi titles) and one can understand his presence, but it is Walter Murch’s contribution that holds the most promise. Oddly enough, Amy E. Duddleston’s discussion about trying to replicate the shower scene in Gus Van Sant’s Psycho remake (which this reviewer loathes) is rather interesting as she admits that they were never able to make it work.
Unfortunately, the film’s better elements are buried by too many inappropriate participants, and this results in a documentary that isn’t nearly as focused as the premise promises. Audiences are merely given an abundance of conjecture that is rarely supported by insightful analysis (and they only skim the surface when any effort is actually made). It is an extremely engaging documentary, but the reason for this has more to do with the film being discussed than with the thrill of receiving any truly revelatory insight into the scene that is supposed to be dissected.
4 of 5 MacGuffins
The two discs are protected in a standard Blu-ray case with related artwork that is reasonably attractive.
The menu also utilizes this artwork and is accompanied by the sound of faint shower water. Overall, it is an above average presentation for a documentary film.
4 of 5 MacGuffins
As is usual with documentary films that contain numerous archival elements, the quality of the film’s image fluctuates a great deal depending on the source being used at any given moment. The transfer is certainly solid and newly shot footage always displays an impressive amount of fine detail. All other elements are well rendered as well and are beyond criticism. However, the archival elements are all over the place and some of the footage seems to be sampled from up-scaled standard definition sources (although, this isn’t necessarily the case). Obviously, documentary filmmakers must make do with the materials that they are allowed to use. In any case, the quality falls in line with what one has come to expect from such productions.
4 of 5 MacGuffins
The 5.1 DTS-HD Master Audio and 2.0 DTS-HD Master Audio options are both strong options with the 5.1 mix obviously offering a slightly more dynamic experience. Obviously, the dialogue driven nature of the film should limit the viewer’s sonic expectations, but music and sound effects do expand the sound design quite a bit. It all sounds very good. The dialogue is clean and intelligible, the music and effects have room to breathe, and everything is mixed for maximum impact.
4 of 5 MacGuffins
Extended Interview with Walter Murch – (55:28)
The inclusion of this lengthy interview adds a bit of legitimacy to the disc. Murch has made a name for himself as an editor and as a sound editor. It is in this capacity that he gives a sort of examination of the shower scene, but he takes it further and actually goes into theories about how the viewer processes images. Obviously, this infuences his own personal approach to editing—even though the collision montage in Psycho purposly goes against this in order to cause slight disorientation in the audience.
Extended Interview with Guillermo Del Toro – (22:13)
It is always interesting to hear Guillermo Del Toro discuss cinema. He is the perfect blend of scholar and fanboy (not to mention the fact that he is a talented filmmaker in his own right). His discourse may be largely theoretical but it is always interesting (despite the fact that one doesn’t always agree with his comments). As with the interview with Walter Murch, this footage was obviously shot to be utilized in the film itself and is therefore presented in black and white.
“Stabbing Melons” with Director Alexandre O. Philippe – (02:52)
It’s difficult to discern why this footage was included on the disc as it doesn’t add anything worthwhile to the proceedings. The viewer is shown a small crew as they set up tables of melons and shoot them (some of the footage being shot is in the film). They mic the melons and proceed to stab them. Finally, the casaba melon used by Alfred Hitchcock is brought out to recreate the sound of the knife cutting into Marion Crane’s flesh.
Theatrical Trailer – (01:23)
IFC took a bit of a risk using so much of the newly shot “Psycho” footage in their trailer for the film. One can imagine a select portion of the intended audience cringing and being turned off by the film completely. However, the moody atmosphere of the images certainly raises a certain amount of interest.
78/52: Hitchcock’s Shower Scene is fun to watch, but it doesn’t really add anything revelatory to our understanding of the film (or of the scene in question). There is an excellent “making of” documentary included on the various Psycho Blu-ray releases that would probably make better use of the viewer’s time. However, anyone interested in the film will find it worth seeing if they happen to get the opportunity. Just don’t shell out any money for the privilege.
Review by: Devon Powell