4K UHD Blu-ray Review: The Alfred Hitchcock Classics Collection

Distributor: Universal Pictures

Release Date: September 08, 2020

Region —

4K UHD: Region Free

BLU-RAY: Region A

Length —

Rear Window: 01:52:27

Vertigo: 02:08:27

Psycho (Original Theatrical Version): 01:49:04

Psycho (Censored Re-release Version): 01:48:51

The Birds: 01:59:31

Video —

4K UHD: 2160P (HEVC, H.265)

BLU-RAY (Rear Window + Psycho + The Birds): 1080P (MPEG-4, AVC)

BLU-RAY (Vertigo): 1080P (VC-1)

Audio (4K UHD) —

Rear Window:

2.0 Mono English DTS-HD Master Audio

2.0 Mono Spanish (Latin American) DTS Digital Audio

2.0 Mono French European DTS Digital Audio

Vertigo:

English DTS X

2.0 Mono English Digital Audio

2.0 Mono Spanish (Latin American) DTS Digital Audio

2.0 Mono French (European) DTS Digital Audio

Psycho:

English DTS X

2.0 Mono English DTS Digital Audio

2.0 Mono French (European) DTS Digital Audio

2.0 Mono Spanish (Latin American) DTS Digital Audio

The Birds:

2.0 Mono English DTS-HD Master Audio

2.0 Mono Spanish (Latin American) DTS Digital Audio

2.0 Mono French (European) DTS Digital Audio

2.0 Mono Japanese DTS Digital Audio

2.0 Mono Portuguese (Brazilian) DTS Digital Audio

Audio (BLU-RAY) —

Rear Window:

2.0 Mono English DTS-HD Master Audio

2.0 Mono Spanish DTS Audio

2.0 Mono French DTS Audio

Vertigo:

5.1 English DTS-HD Master Audio

2.0 Mono English DTS Audio

2.0 Spanish DTS Audio

2.0 French DTS Audio

Psycho:

English DTS X

7.1 English DTS-HD Master Audio

2.0 Mono Spanish DTS Audio

2.0 Mono French DTS Audio

The Birds:

2.0 Mono English DTS-HD Master Audio

2.0 Mono Spanish DTS Audio

2.0 Mono French DTS Audio

Subtitles —

Rear Window: English SDH, Spanish, French

Vertigo: English SDH, Spanish, French

Psycho: English SDH, Spanish, French

The Birds: English SDH, Spanish, French (The 4K UHD also includes Japanese and Portuguese subtitles.)

Ratio —

Rear Window: 1.66:1

Vertigo: 1.85:1

Psycho: 1.85:1

The Birds: 1.85:1

Bitrate —

Rear Window (4K UHD): 97.00 Mbps

Rear Window (BLU-RAY): 31.99 Mbps

Vertigo (4K UHD): 90.00 Mbps

Vertigo (BLU-RAY): 29.90 Mbps

Psycho (4K UHD): 60.00 Mbps

Psycho (BLU-RAY): 24.43 Mbps

The Birds (4K UHD): 68.00 Mbps

The Birds (BLU-RAY): 29.37 Mbps

Notes: This is the 4K UHD debut for these four titles. The included Blu-ray discs for Rear Window, Vertigo, and The Birds are the same discs that have been available both individually and in previous boxed sets since 2012. These titles do not include new transfers. However, the included Blu-ray edition of Psycho is a new transfer and includes the original theatrical cut of the film. The package also includes digital copies of all four titles.

Alfred Hitchcock Master is pleased to present four exclusive new guest articles in celebration of Universal’s The Alfred Hitchcock Classics Collection. Each of these articles discuss one of the four films included in this new 4K UHD collection:

Rear Window: In the Heat of the Night

Exclusive Guest Article By: Robert Jones

Another Life for Alfred Hitchcock’s Vertigo

Exclusive Guest Article By: Dan Auiler

Psycho Consideration

Exclusive Guest Article By: Ken Mogg

Hitchcock’s The Birds Is Our Modern Day Pandemic

Exclusive Guest Article By: Tony Lee Moral

The Presentation:

3 of 5 MacGuffins

Universal’s eight-disc set is given a rather attractive (but undeniably kitschy) book-style presentation with a pair of pages for each film that includes folders for the 4K UHD and Blu-ray discs. Those who own one of the many other Hitchcock Blu-ray sets that Universal has released throughout the years will know what to expect here.

Frankly, I wouldn’t be surprised if the packaging becomes a deal breaker for some people. This is a design that seems special on the surface but actually provides the consumer with less value than if each film had been provided with a sturdy 2-disc 4K UHD case. Such an approach would offer adequate protection for each of the discs. The folder-style compartments in these Hitchcock sets don’t protect the discs at all. In fact, they very often cause scratches. This problem is exacerbated by the fact that the compartments are extremely tight. It is a serious struggle to remove the discs without damaging either the packaging or the disc itself. Fans will have to spend an inordinate amount of time trying to remove a disc without scratching it every single time they wish to watch one of these films. What good is attractive packaging if isn’t user friendly?

Fans might wish to invest in individual disc envelopes or plastic disc sleeves. This would allow them to place the eight discs into the sleeves and simply pull the sleeves out of the book’s folder-compartments with less risk of scratching or smudging them.

It is time for Universal to stop packaging their discs in this manner. This is a major issue with what would have otherwise been a near-perfect release.

Rear Window

Picture Quality:

4K UHD: 4 of 5 MacGuffins

Rear Window wasn’t the first of Alfred Hitchcock’s films to be projected in the ‘widescreen’ format, but it was his first film to be projected wide in every theatre. The recommended ratio was 1.66:1, and Universal has retained this theatrical ratio for this 4K UHD release. (The same can be said about their Blu-ray transfer of the film.)

This 2160p transfer of Rear Window doesn’t merely offer an improvement in resolution. It seems to be a more accurate rendering of the film’s source elements. The Blu-ray was a fine transfer for that particular format, but there were moments that seemed as if the image had been brightened. This new UHD image prefers to allow the film’s darker scenes to remain dark. Shadows appear to be deeper and contrast is richer here. Colors also seem healthier here, much more stable, and more realistic than they appeared on the Blu-ray disc. HDR really seems to add subtle improvements in this area. The disc encode hasn’t introduced any noticeable anomalies either. Of course, it is important to remember that all of these areas have been judged with the film’s age in mind. It would be ridiculous to expect the film to look like a recent blockbuster (and this is a good thing in certain respects). However, none of the age related blemishes become problematic or at all distracting.

BLU-RAY: 4 of 5 MacGuffins

Universal has recycled their old 2014 Blu-ray disc for this release, and our opinions about the transfer remain the same:

Clarity and detail are both vastly improved over the DVD releases of the film. Audiences can now spy on the neighbors across the courtyard and see details that they have never previously seen. The transfer showcases a layer of grain that would have been evident in the source materials, and DNR seems to have been used more responsibly here than might have been the case. Instances of dirt and film damage are rare and never distracting. While a few shots appear less clear than the majority of the film, one assumes that this is an issue with the source and not the transfer. Color is well rendered for the most part (although there are a few moments of inconsistency). This is one of the better Blu-ray transfers of a Hitchcock film offered by Universal.

Sound Quality:

4K UHD: 4.5 of 5 MacGuffins

Universal seems to recycle their old 2.0 Mono DTS-HD Master Audio that featured on the earlier Blu-ray, but that was always a lovely mix and needs no upgrade here. Alfred Hitchcock used sound dramatically and with particular creative flair in Rear Window, and it seems more important that they include a faithful lossless reproduction of the film’s original mix than to offer a ham-fisted 5.1 re-mix. Sometimes those re-mixes are merely bumbled counterfeits of a soundtrack that wasn’t broken in the first place.

BLU-RAY: 4.5 of 5 MacGuffins

The same two-channel Mono DTS-HD Master Audio mix appears on the included Blu-ray disc, and this should satisfy even the most discriminating listeners. Dialogue is clear and intelligible throughout, and the amazing ambiance of the neighborhood has never sounded better on a home video format. This was a terrific sound transfer in 2014, and it remains a solid track today.

Special Features:

4.5 of 5 MacGuffins

Feature Length Commentary with John Fawell

John Fawell is the author of a wonderful book entitled “Hitchcock’s Rear Window: The Well-Made Film.” While some may complain that his commentary track is a bit dry, he does offer a significant amount of interesting analysis that is peppered with production details. Most fans of the film will enjoy the commentary a great deal, and it is certainly a welcome addition to the disc.

Rear Window Ethics – (55:10)

Laurent Bouzereau’s documentary about the making of Rear Window examines the production of this wonderful classic before discussing the film’s restoration. It is one of the best supplements on a disc that is full of wonderful supplements.

A Conversation with Screenwriter John Michael Hayes – (13:10)

John Michael Hayes discusses how he came to work on the screenplay for Rear Window and shares his memories of working with Alfred Hitchcock. This is a rather detailed program that offers a lot more information than one might expect from a thirteen minute featurette. One may want to watch this featurette before watching Rear Window Ethics.

Breaking Barriers: The Sound of Hitchcock – (23:31)

Hitchcock was such a visual genius that his brilliant use of sound often goes unnoticed. This short documentary discusses the director’s use of sound. This is perhaps not as comprehensive as one might like, but it is an interesting and thoughtful look at an element of Hitchcock’s work that is too often ignored.

Pure Cinema: Through the Eyes of the Master – (25:12)

Alfred Hitchcock’s work has influenced many filmmakers. In this featurette, several of these filmmakers discuss Alfred Hitchcock’s films and his technique. While this isn’t the disc’s best supplement, it is certainly nice to have it included here.

Masters of Cinema – (33:39)

This 1972 program is an incredible addition to an already wonderful disc. We are given two interesting interviews with the master himself (one featuring Pia Lindstrom and another featuring William Everson). Certain sections of the program (including introductions and film clips) are omitted. A more complete version of this program is included on Criterion’s edition of The Man Who Knew Too Much. The picture quality on the Criterion release is also slightly superior.

Excerpts from François Truffaut’s Interview with Alfred Hitchcock – (16:15)

These interview clips may sound familiar to those who have read Truffaut’s book length interview with Hitchcock, but these interview excerpts should remain interesting regardless. It is always a treat to hear Hitchcock discuss his films. The interview is illustrated by film clips, promotional photos, and artwork from the film.

Theatrical Trailer

James Stewart addresses the audience and discusses his neighbors. This is different than many vintage trailers, but it does include quite a bit of footage from the actual film. Fans of Rear Window should be delighted to have it included here.

Re-Release Trailer (Narrated by James Stewart)

This re-release trailer features narration from James Stewart about the re-release of VertigoThe Man Who Knew Too MuchThe Trouble with HarryRope, and Rear Window. It is surprisingly interesting but also rather dated.

Production Photographs – (SD)

This is a gallery of production stills, advertisements, and posters that were used to promote Rear Window.

Vertigo

Picture Quality:

4K UHD: 5 of 5 MacGuffins

Universal’s new 2160p transfer of Vertigo is without question this set’s most beautiful transfer in this set. It really stands apart from the other titles away in many regards. This is probably because of the 70mm restoration source used for this particular transfer. The film was shot in Vistavision, and this gave the film a significant increase in resolution from a typical 35mm image. The image is so overwhelmingly impressive to these eyes that it is difficult to know where to start. Robert Burks’s brilliant color cinematography is brought to dazzling life here as they show an amazing amount of vibrancy that never feels artificial. Blacks are deeper with richer shadow depth. The Blu-ray seems to have been brightened in comparison with this darker transfer, but this seems more accurate when one watches the film in motion. Fans will also notice an obvious increase in sharpness, clarity, and fine detail throughout the duration of the movie. Of course, grain is handled remarkably here as it is very fine but always looks filmic.

BLU-RAY: 4.5 of 5 MacGuffins

Again, this Blu-ray disc is the same one that has been available for years. The 1080p transfer is impressive but not perfect. Detail is wonderful and reveals textures and lines that weren’t as clearly defined on previous home video release formats. Clarity is wonderful with only occasional digressions into slight softness. There is a fine layer of film grain, but this is a good thing. There aren’t any digital anomalies to annoy the viewer. Colors are quite wonderfully rendered (with only a few minor exceptions), and the picture exhibits appropriate contrast. There are moments when blacks feel slightly faded, but this never becomes a distraction. Any complaints one might have tend to be overwhelmed by the transfer’s more positive attributes.

Sound Quality:

4K UHD: 4.5 of 5 MacGuffins

It was interesting to discover that the soundtrack has been given an upgrade here as Universal offers fans a DTS X Master Audio mix instead of the lossless 5.1 presentation that graced the 2014 Blu-ray edition of this film. The differences are especially evident in Bernard Herrmann’s terrific score, and one must admit that the differences are quite welcome. It is certainly an immersive mix that seems to have been created with loving care as each element is well prioritized.

BLU-RAY: 4.5 of 5 MacGuffins

Their 5.1 DTS-HD Master Audio mix is also a winner on every level. This track was certainly the highlight of Universals Blu-ray catalogue of Hitchcock films. This mix was rather controversial upon the release of the film’s wonderful restoration in 1996. Robert A. Harris and James C. Katz were forced to redo much of the soundtrack (based upon Alfred Hitchcock’s meticulous notes). Purists were quite upset, but this is a marvelous job. Purists should be pleased to find that Universal has also included the film’s original mono track. The complaint here might be that it is not lossless. I suppose that one cannot have everything. It is certainly wonderful to see it included here in some form.

Special Features:

4 of 5 MacGuffins

If Universal had included the wonderful restoration commentary with Robert A. Harris and James C. Katz, this would be a near-perfect collection of supplements.

Feature Length Commentary by William Friedkin

One would probably rather have the Robert A. Harris and James C. Katz commentary included on the disc instead of this one. The track included various Vertigo participants (including Samuel Taylor) and was quite interesting. Friedkin offers an interesting enough track, but it is mostly a blow-by-blow of what is happening onscreen. One wonders why they asked him to provide a track for the film in the first place. He has made a few wonderful films, but he isn’t an expert on Vertigo. This reviewer would have preferred a commentary by Dan Auiler (who quite literally wrote the book on the subject).

Obsessed with Vertigo: New Life for Alfred Hitchcock’s Masterpiece – (29:19)

This ‘original’ American Movie Classic documentary (produced when AMC actually aired classic movies) is narrated by Roddy McDowall and features a number of interviews with Vertigo participants (including Kim Novak, Barbara Bel Geddes, Herbert Coleman, and Patricia Hitchcock, and others). A significant portion of the documentary is dedicated to the wonderful 1996 restoration. Robert A. Harris and James C. Katz discuss (in reasonably comprehensive detail) what was involved in restoring this great classic.

It is a wonderful documentary that is somewhat different to the documentaries on most of Universal’s Hitchcock releases (which were directed by Laurent Bouzereau). Some of the other documentaries were slightly more comprehensive while others weren’t. It is very nice to see this documentary included here. It is one of the two best supplements on this disc.

Partners in Crime: Hitchcock’s Collaborators – (54:49)

This documentary has four chapters:

Saul Bass: Title Champ

Edith Head: Dressing the Master’s Movies

Bernard Herrmann: Hitchcock’s Maestro

Alma: The Master’s Muse

Each of these chapters is informative and entertaining, and they are all likely to increase the viewer’s appreciation of Vertigo and the rest of Hitchcock’s filmography.

Foreign Censorship Ending – (02:09)

This ending that was tagged on to the film for its foreign release and was probably never intended to be the film’s proper ending (though it was included in the shooting script). It is incredibly interesting and one of the most welcome additions to the disc.

Excerpts from François Truffaut’s Interview with Alfred Hitchcock – (14:17)

It is unacceptable at this point not to include pertinent excerpts from Hitchcock’s legendary book length interview with François Truffaut. It is always a treat to hear Hitchcock discuss his films, and this portion of their interview isn’t an exception.

100 Years of Universal Lew Wasserman Era – (09:00)

This featurette about Universal Studios during Lew Wasserman’s reign is an appropriate extra for a Hitchcock film (and even includes a clip of Alfred Hitchcock promoting the Universal tour). It certainly isn’t the best supplement here, but it is entertaining and informative enough to earn its place in this collection of supplements.

Original Theatrical Trailer – (02:30)

This ‘original’ theatrical trailer was created with the intention of making the audience understand the meaning of the film’s title while also exploiting the more sensational aspects of the film. It is an interesting artifact and fans should be grateful to have it included here.

Restoration Theatrical Trailer – (01:23)

The 1996 restoration re-release trailer marks an important moment in the film’s history as few classic films are given such a well-publicized re-release (or such a meticulous and painstaking restoration).

The Vertigo Archives

The Vertigo Archives is essentially am extensive photo gallery that includes production photographs, stills, posters, advertisements, and production design drawings. Many of these are quite interesting.

Psycho

Picture Quality:

4K UHD: 4.5 of 5 MacGuffins

The original 2010 Blu-ray transfer of Psycho (and all of Universal’s subsequent Blu-ray releases up until now) included a transfer that has been criticized for being an overly processed representation of the film. There was an obvious overuse of DNR applied to the image in an effort to “manage” the film’s grain, contrast was pushed a bit too far, and it appears that artificial digital sharpening had also been applied. Having said this, the film still managed to look outstanding.

It is wonderful to report that this new transfer corrects those issues and looks considerably more filmic. In fact, any issues that one might find with this particular transfer seem to represent the source. The improvements here go beyond the perimeters of the added resolution that this format allows. Revelatory improvements in fine detail are certainly evident, gradients see a significant if subtle improvement due to the HDR capabilities of the format, textures aren’t as waxy here, blacks are healthier here (it appears that the 2010 transfer had been brightened to “enhance” the image), and clarity is also greatly improved. Universal’s impeccable encoding has ensured that fans can enjoy this remarkable new upgrade without ant distracting artifacts, although sensitive viewers man notice some aliasing during certain scenes. Age related film damage is also occasionally evident but never blatant or distracting.

The “uncut” theatrical version and the re-release cut of the film are seamlessly branched, so there isn’t any different in the quality of the two included versions if the film.

BLU-RAY: 4.5 of 5 MacGuffins

This disc includes a 1080p transfer of the same master used for the 4K UHD disc, so much of what was written about that disc also applies to this one. However, we might add that some fans may fault this disc for not being as sharp as the earlier Blu-ray release, but it is worth repeating that the reason for this is that it hasn’t been artificially sharpened and the contrast hasn’t been pushed nearly as far here. This is a much more organic representation of the film’s source.

Sound Quality:

4K UHD: 4 of 5 MacGuffins

Psycho has been given yet another soundtrack upgrade for this release, but the DTS X transfer isn’t an overwhelming overhaul of the 5.1 TrueHD mix that appeared on the original Blu-ray edition. Bernard Herrmann’s iconic score is allowed to really come to life here, and the mix is truly immersive when his music takes the stage. Other elements are also nicely handled, and this extends to the sounds that breathe life into the quieter moments of the famous shower sequence. Dialogue is always clear and well prioritized throughout the film, so there won’t be any complaints regarding this particular element.

Unfortunately, we feel that Universal has erroneously touted that the disc includes the film’s original mono mix in the DTS Digital Audio format. We were initially disappointed that this track wasn’t included in lossless form, but it wouldn’t have mattered anyway since the track isn’t even the film’s original mono but the DTS X track folded down into a mono track.

I’ll admit that the surround mix isn’t a bad one, but it isn’t perfectly faithful to the original soundtrack either. New sounds have been added to the mix, and this might have been more acceptable if it was offered as an option in addition to the original mix in high definition.

BLU-RAY: 4 of 5 MacGuffins

The included Blu-ray features the same DTS X audio and a 7.1 DTS-HD Master Audio reworking of that mix. Our above review applies to this disc as well, but the fake mono option isn’t included here.

Special Features:

4.5 of 5 MacGuffins

Universal has included all of the excellent supplements that graced their earlier Blu-ray releases of Psycho. Some might complain that the disc lacks any new supplements, and we will agree that a commentary or featurette about the original theatrical cut would have added value and interest to this important release. However, this is still an incredibly rich supplemental package.

Audio Commentary with Stephen Rebello

Stephen Rebello is known for writing the book, “Alfred Hitchcock and the Making of Psycho.” His commentary is informative and focuses on the film’s production. He manages to relay a wealth of information in an engaging and entertaining manner. There is a lot to love about this commentary.

Alfred Hitchcock Master had a brief exchange with Rebello about this particular release, and he seemed slightly disappointed that Universal didn’t commission a new track that addresses the “uncut” theatrical version of Psycho:

“I spoke at length with Universal reps when they contacted me several times about the original print version of Psycho. They’re recycling my old recorded commentary on the new 4K (when they should have asked me to do a new recording specifically on the hows-and-whys of the original version and subsequent cuts).”Stephen Rebello

The Making of Psycho– (01:34:06)

Laurent Bouzereau’s documentary is probably one of the most comprehensive and well-made documentaries on the making of a single Hitchcock film that I have ever seen. It covers every aspect of production in great detail. It might have been better if archival footage of Alfred Hitchcock, Anthony Perkins, and Vera Miles were included. I know that relevant footage is available. Oddly, the documentary is so enthralling that the absence of these key contributors goes unnoticed until it is over. They are certainly discussed at great length. The documentary is far from a mere fluff piece. It is the best supplemental feature in this package.

Newsreel Footage: The Release of ‘Psycho– (07:45)

This is a vintage promotional newsreel revealing Hitchcock’s unique policies surrounding the film’s release. It is surprisingly entertaining. Hitchcock fans will love it.

In the Master’s Shadow – Hitchcock’s Legacy – (25:27)

Contemporary filmmakers discuss Hitchcock’s influence and why his movies continue to thrill audiences. This is actually much better than it sounds because we see clips from contemporary films that illustrate the director’s profound influence on contemporary cinema.

Psycho Sound – (09:58)

This brief featurette is new to the Blu-ray disc and looks at the re-mastering process used to create a surround mix from the original mono elements. It is interesting but this is of less interest than the supplements about the film’s production. It is also worth noting that it is not discussing the mix that is included on this disc.

Theatrical Trailer – (06:36)

Theatrical trailers are rarely this entertaining. Instead of featuring footage from the actual film, Alfred Hitchcock gives a fabulously witty tour of the iconic set. He cryptically teases the audience with plot details but reveals only enough information to make the audience curious. It is really quite delightful.

Re-Release Trailers – (01:51)

These re-release trailers are less interesting than the original theatrical trailer, but they are certainly worth seeing.

The Shower Scene (with and without music) – (02:31)

This feature gives viewers the opportunity to view the famous shower scene with and without Bernard Herrmann’s iconic score. It is actually surprising how differently the scene plays. It actually works quite well without music, but the effect is completely different. The scene is less startling and more devastating without the music. The sounds of the knife tearing through flesh combine with the Marion’s screams and whimpers to make the moment more intimate and tragic when they are played against silence. The horror becomes more personal. There is no doubt that the score contributed to the scene’s success, but for reasons that I would have never guessed. One understands Hitchcock’s reasoning for suggesting that the scene not have music. I realize that this isn’t the line that critics and scholars have sold us. Other people will probably have different reactions than mine, but this supplement will remain interesting for almost everyone.

Excerpts from François Truffaut’s Interview with Alfred Hitchcock (15:21)

These interview clips may sound familiar to those who have read Truffaut’s book length interview with Hitchcock, but these excerpts remain interesting regardless. The audio clips are presented over clips from the film, which increases one’s enjoyment.

The Psycho Archives:

This is merely a collection of photo galleries related to the production and marketing of Psycho. The way that it is listed on the disc is rather misleading as it implies that this is a separate feature.

The Shower Scene Storyboards

Posters & Psycho Ads

Lobby Cards

Behind-The-Scenes Photographs

It is worth mentioning that all of these images are presented in standard definition.

The Birds

Picture Quality:

4K UHD: 4 of 5 MacGuffins

This was always going to be the weakest image transfer in this set. The Birds has always been a troublesome title to judge in terms of picture quality. The source materials are inevitably marred to some extent by the special effects. Some shots are naturally second, third, and even fourth generation images. Hedren’s close-ups are filtered so that they present her in the best possible light (a practice that was not at all uncommon in those days). Obviously, these images will not be as immaculate as one expects from most 4K UHD transfers. One really shouldn’t hold this against the transfer as it does offer an obvious upgrade. We see that the HDR has resulted in better color intensity and clarity. Depth sees a notable improvement over the Blu-ray. The image is noticeably more textured, and the film’s natural layer of grain is well managed here.

BLU-RAY: 3 of 5 MacGuffins

Here we have another repurposed 2014 Blu-ray disc, and the transfer is marred by the same production realities that held the new 4K UHD transfer back. The image is a bit softer than one expects in high definition due to the production photography. Colors seem to be accurately rendered, and black levels are often deep and lovely. Some shots do exhibit a bit of unattractive noise, but these incidents do not represent the presentation in its entirety. There has also been a bit of digital tampering, and there is an occasional artifact. This is never distracting, but it is somewhat unfortunate. This transfer might not be great, but it is certainly a vast improvement over previous DVD editions.

Sound Quality:

4K UHD: 4.5 of 5 MacGuffins

Universal also recycles their old 2.0 Mono DTS-HD Master Audio that featured on the 2014 Blu-ray, but that mix was always a solid representation of the film’s original sound mix. Alfred Hitchcock’s soundtrack for The Birds was designed with meticulous care, and it is especially important to represent that original mix. All elements are well prioritized, dialogue is intelligible, and bird effects are full and have an aggression that one might expect in a more recent film (even if they aren’t presented in a contemporary surround mix).

BLU-RAY: 4.5 of 5 MacGuffins

The Blu-ray disc utilizes the same DTS-HD Master Audio that is featured on the 4K UHD disc.

Special Features:

5 of 5 MacGuffins

All About The Birds – (01:19:49)

Laurent Bouzereau’s feature-length documentary about the making of The Birds is incredibly comprehensive. It covers every aspect of production in explicit detail. Patricia Hitchcock, ‘Tippi’ Hedren, Rod Taylor, Veronica Cartwright, Evan Hunter, Ray Berwick, Robert Boyle, Hilton Green, Syd Dutton, Bill Taylor, Harold Michelson, Howard Smit, Steven C. Smith, and Robin Wood all share memories and provide their expertise about the film. The viewer will also hear Alfred Hitchcock discuss the film’s ending with Peter Bogdanovich. This documentary is second only to Bouzereau’s similar program about Psycho (and it is a very close second).

The Birds: Hitchcock’s Monster Movie – (14:23)

This featurette is exclusive to the Blu-ray of The Birds, and is essentially an analysis of the film’s place in Hitchcock’s oeuvre. The piece makes the argument that The Birds is the master’s “monster movie.” It is nice to have it included here, but it isn’t one of the discs better supplements.

‘Tippi’ Hedren’s Screen Test – (09:57)

This footage from ‘Tippi’ Hedren’s screen test (featuring Martin Balsam) is an absolute gem. Alfred Hitchcock fans should find this footage to be absolutely essential and will be thrilled to have it in their collection.

Suspense Story: National Press Club Hears Hitchcock (Universal International Newsreel) – (01:54)

This newsreel includes a humorous speech that Alfred Hitchcock gave for the National Press Club. It is both interesting and enjoyable.

The Birds is Coming (Universal International Newsreel) – (01:17)

This newsreel features footage that highlights pigeon races that publicized The Birds. Alfred Hitchcock and ‘Tippi’ Hedren witness the event.

Excerpts from François Truffaut’s Interview with Alfred Hitchcock – (13:58)

These excerpts from Truffaut’s famous interview with Hitchcock allow fans to hear the director discuss The Birds.

100 Years of Universal: Restoring the Classics – (09:13)

This featurette is essentially a commercial for the Universal catalog and discusses the restoration of a few Universal titles (including The Birds). The few nuggets of information that are related to the viewer concern the restoration process.

100 Years of Universal: The Lot – (HD) – (09:26)

This featurette is essentially a fluff piece about the Universal lot, but it does include a few brief moments of interesting footage.

Theatrical Trailer – (05:11)

The theatrical trailer for The Birds is an incredibly creative promotional film featuring Alfred Hitchcock addressing the viewer about the history of man’s relationship with the birds. It is of course done with his tongue planted firmly in his cheek. It is truly excellent, and this disc would be incomplete without it.

Deleted Scene

This deleted scene featuring Melanie and Mitch was shot but no longer exists (at least not to anyone’s current knowledge). Therefore, the scene is presented as a sort of slide show with excerpts from the script and images from the scene.

 Original Ending

Since the original ending was never shot, we are given a slide show presentation of script pages and conceptual sketches that illustrate what the ending would have been like.

Storyboards

Audiences are given a slide show comparing various storyboards with images from the film.

Production Photographs

Another slide show of production photos, stills, advertisements, posters, and other images is also included.

Final Words:

The Alfred Hitchcock Classics Collection includes four of the director’s most beloved titles on the 4K UHD format, and the set would receive an enthusiastic recommendation if it were not for the problematic packaging. Fans who can stand the suspense may wish to wait for these films to be released individually, but some will want to check out these excellent new transfers as soon as possible.

‘Psycho’ Considerations

Exclusive Guest Article

By: Ken Mogg

This article is the third in a series of four guest articles to appear on this page in celebration of Universal’s release of ‘The Alfred Hitchcock Classics Collection.’

“Sam keeps Norman talking while Lila sneaks into the house to explore …  As we can’t make up our mind whether the danger is coming from in front of her (Mom) or from behind her (Norman) … we yield to a helpless hysteria.” —Raymond Durgnat (Inside Norman Bates, Focus on Hitchcock, 1972)

EXACTLY! RAYMOND DURGNAT’S CLASSIC essay about Alfred Hitchcock’s thriller Psycho (spoiler warning: read no further if you haven’t already seen it) shows how well he understood the director’s capacity to outflank his audiences. Here are other examples: About the enthralling sequence of Marion Crane’s long drive with $40,000 stolen from her employer, Durgnat notes her two contrasting encounters. “The cop is saying, ‘I remind you of punishment: turn back!’ the garage hand, ‘I make crime pleasant and easy, go on.'” And again, after motel proprietor Norman Bates has cleaned up the scene of Marion’s murder in her shower by his homicidal Mother and disposed of the body in a nearby swamp, we are torn. Such filial protectiveness! “The spectator’s moral purity,” writes Durgnat, “is being outflanked at both ends—by morbid, pornographic interest, and by a sympathetic pity for charming Norman.”

Durgnat clearly sees how the initial conversation between Norman and the private detective Arbogast works. “In the battle of wits between [them] we sympathize with them both — Marion must be avenged … yet Norman’s motives are [seemingly] selfless …” Even so, Hitchcock has planted a hint of Norman’s more formidable side. Conversing with Marion, Norman leans forward, his eyes blazing angrily, and accuses her, “You mean [put Mother in] an institution, a madhouse?” Already he seems driven to protect his mother, even as next moment he admits, revealingly, that he had considered putting her away. “But,” he adds, “I hate to even think about it.” As critics have said about Psycho and Hitchcock, the director doesn’t cheat — just lets us leap to our wrong conclusions. About how nice Norman is, for example!

Initially, Durgnat isn’t complimentary about Hitchcock’s audience. “In Psycho nothing that isn’t disturbing or tainted ever happens, and to enjoy it (as most people do) is to stand convicted, and consciously convicted, of a lurking nostalgia for evil …” In the end, though, we arrive at “an unsentimental compassion towards insanity.” (The philosopher Schopenhauer claimed that humans are driven by an impersonal, non-rational force—which Psycho surely implies—and advocated an ethics of compassion to countermand it. He termed this ubiquitous force “Will”. Durgnat, for his part, sees Psycho as showing “the brutal Will of destiny”, implicit in Bernard Herrmann’s score and whose personification is the police patrolman, inscrutable behind his dark glasses.1)

At the same time, Herrmann’s score represents subjective dread, both the characters’ (especially Marion’s, on the road) and ours. Dread is fear, or, more specifically, a fear of what one nonetheless desires.2 Marion feels compelled to steal a wad of unmarked $100 bills (whose obnoxious owner had tempted her by remarking, “I never carry more than I can afford to lose”) in order to flee her job and marry boyfriend Sam. Once on the road, the dread starts to beset her. The pounding score alternates with a “yearning” music, for both of which the ubiquitous strings are well-suited.

The Credits

To appreciate how Hitchcock and Herrmann are able to intimate a great deal in a short space—as they do—we need look no further than the credits sequence. It starts with the obligatory Paramount logo shown in a chilling black-and-white image incorporating horizontal lines and total silence. Never has that familiar snow-covered mountain top been more functional!3 A momentary fade to black follows, then a dark grey screen appears. After a beat, Herrmann’s skittering yet pounding music announces itself and the screen is invaded by sets of horizontal black bars which come and go, regularly uncovering white titles underneath, starting with the words “ALFRED HITCHCOCK’S” and then “PSYCHO.” Sometimes the clusters of horizontal bars give way to sets of vertical ones. Meanwhile, the successive titles shatter, and are wiped or seemingly pushed from the screen by the hostile bars. There’s a certain symmetry to all of this, but it’s hard to define — as I’m sure the filmmakers intended. Saul Bass’s description of his work on the titles for Otto Preminger’s The Man With the Golden Arm (1955) comes to mind: the image of a “jagged” arm “expressed the jarring, disjointed existence of the drug addict.” Mutatis mutandis, the Psycho titles anticipate the psychosis of Norman Bates — and, to an extent, of us all. (“We all go a little mad sometimes”, Norman will say.) The blocks of vertical lines resemble city buildings, and at the end of the sequence dissolve to a real cityscape of Phoenix, Arizona.

The black bars will return at the very end of the film (after its final image of the turgid swamp) to obliterate everything. Nihilism anyone?! The question arises of how exactly Psycho manages to exhilarate most viewers. Here’s Durgnat again: “People [who have just seen Psycho] leave the cinema chuckling incredulously, groggy, exhilarated yet hysterical, half-ready to believe that everybody in the world is as mad as Norman.” Hitchcock, with his mastery of subjective cinema in which onscreen events mirror the mind-state of characters and/or viewers (the expressionist Marnie provides a classic example) well understood that none of us knows anything “objectively.” (That was certainly Schopenhauer’s thesis. We can’t comprehend Will, only it’s Representation/s.) Finally, having been put through the wringer by the film, which was an avowed aim of Hitchcock’s, i.e., full audience involvement, and an outcome of his subjective techniques, we heave a sigh of relief that Norman has got what he deserved. Well, it’s ambiguous! But at least we’ve been given a scapegoat!

Early Scenes

As noted, what follows the credits sequence is a view of a city, with the camera gradually descending and slow-zooming into the space between a partially-open window and its sill, then into a darkened hotel room behind it. That image soon lightens, as if our eyes were adjusting to the gloom, and we see that a couple – Sam and Marion – have been making out on a bed. Successive titles have set the scene: “PHOENIX, ARIZONA”, “FRIDAY, DECEMBER THE ELEVENTH”, “TWO FORTY-THREE P.M.” Each block of words has slid onto the screen from the side, then off again, just as the black bars did earlier. The fact that the words are all in capitals adds to the block-impression. The precision of date, place, and time is like an apt joke on Hitchcock’s part, no doubt evoking the police procedural Dragnet which had just finished its decade-long run on American TV (1951-1959; revived in 1967). The viewer feels another frisson of excitement to come. The track/zoom beneath the slightly-raised hotel bedroom window in order to show something illicit, i.e., love-making at lunchtime, troubles us not at all! We have paid our admission precisely to experience some vicarious thrills, and here are two Hollywood stars effectively doing our bidding! Carry on, Hitchcock and cast!

Of course, we have arrived too late for actual intimacy. Hitchcock allows us to see just enough necking to stir us; he’ll gratify us with a different excitement later in the film. He was well aware that “suspense” is analogous to sex. Psycho‘s early scenes are effectively about sexual frustration and prelude the images of the mother-dominated Norman spying voyeuristically on Marion. Director Richard Franklin (Psycho II) told me that Hitchcock regretted not being able to imply that Norman was masturbating as he watched Marion take her shower. Note too that there’s a relative “shortage” of women in the supporting cast of Psycho. Certainly, none of them is any match, photographically, for Janet Leigh’s Marion! There’s mousy Caroline in the real estate office where Marion works; there’s Vera Miles as Lila, whom for some reason Hitchcock dressed as dowdily as he could (though he had considered casting her as Madeleine in Vertigo!); and there’s the sheriff’s wife, for whom matters of the bedroom are, at most, to be whispered about.  Interestingly, Psycho‘s several males, excluding Tony Perkins’s Norman, tend to be declamatory, and their virility is not in question. Hitchcock seldom left us uncertain about our allegiances. (Incidentally, I value Sheriff Chambers’s hearty enunciation of “Ar-bo-gast”!) By contrast, Norman is a charming conversationalist, once he gets going! (His opening gambit to Marion, “You eat like a bird!”, is a bit lame — but quite in character, given his boyish disposition!)

Visuals and Screenplay

Just as artfully employed are the film’s visuals. The road scenes, and the Bates Motel, continue the horizontal-lines motif of the credits; the tall buildings of Phoenix, the old house behind the motel, the Fairvale Church with its spire, and the courthouse with its columns, feature vertical designs, again recalling the credits. Marion’s drive to California offers a slice of Americana to go with the reference to “many motels in this area” by the patrolman — shades of Edward Hopper’s 1957 painting “Western Motel”, whose dreary rolling hillside visible through a window is a likely influence.4 Marion’s trip provides a rough parallel to, say, the road scenes of John Ford’s The Grapes of Wrath (1940) and Stanley Kubrick’s Lolita (1962); pessimistic later films like Dennis Hopper’s Easy Rider (1970) and Ridley Scott’s Thelma and Louise (1991) may be seen as likewise drawing on and contributing to such a road genre.

Something I hugely admire is the Psycho screenplay by the young Joseph Stefano.  Himself in psychotherapy at the time (as I remember reading in Stephen Rebello’s richly rewarding Alfred Hitchcock and the Making of Psycho, 1990), he had a remarkable ear for dialogue and a resourcefulness that quickly earned him Hitchcock’s gratitude. The scene in Sam’s hardware store with the lady buying the pesticide is very clever. The lady reads the label on the can: “They tell you what its ingredients are, and how it’s guaranteed to exterminate every insect in the world …” The idea of mass extermination of “every insect” already sounds excessive, but she keeps going. “But they do not tell you whether or not it’s painless …” Well, that’s as maybe! Is it to the point, though?! Do insects feel pain?! Then comes the topper. “And I say, insect or man, death should always be painless!” Her solicitude sounds somewhat misplaced. What exactly does she mean by “should always be painless”? She’s not talking of war, one assumes. (So much for her “always”.) Perhaps she’s talking of executions?! The deliberate killing of a human being — in which, apparently, she will have a say! (During all of this, the dull, adenoidal shop assistant says nothing.) No doubt the point of the scene, structurally, is that it comes within minutes of the bloody killing of Marion in her shower by Mother. The lady customer’s concern for pain-free death strikes a humane note, but she has no inkling of what has occurred up the road at the Bates Motel. Her opinion can’t help but seem inadequate in the face of what the audience has just witnessed. On the other hand, as a piece of “light relief”, it is perfectly judged — like the knocking at the gate in Macbeth which follows hard on the bloody murder of Duncan by Macbeth and Lady Macbeth.

Stefano had an excellent ear for repetition and other verbal mannerisms (like Norman’s stutter — though that may have been Tony Perkins’s own contribution).  Caroline’s willing diffidence, for example: “Teddy called me; my mother called to see if Teddy called. Oh, your sister called to say …” Or the mad cunning of Norman’s seeming acceptance when he has finally become his Mother: “They’ll see and they’ll say, and [pause] they’ll say, ‘Why, she wouldn’t even harm a fly!'” Or Sam’s repeated disgruntled reference to his “sweating” to pay alimony.

Then there is the film’s motif of impatience, of not being able to wait. The two sisters are its embodiment. As Lila says, “Patience doesn’t run in my family.” When Sam announces to her that’s he’s going out to the motel, and that she should stay behind, she complains, “Well, what am I supposed to do? Just sit here and wait?” (“Yeah!”, he responds.) Marion’s impatience to get married is the wellspring of Psycho. Wryly, she tells the stolid Sam, “They also pay who meet in hotel rooms.” She means, apparently, that she feels demeaned by having to have their rushed trysts at lunch-hour. (She will be paying in another way before long, the $40,000 not availing her.) Curiously, her phraseology echoes John Milton’s famous line, “They also serve who only stand and wait.” It’s another example of the resourceful Stefano’s ability to inject poetry—literally or in effect—into his screenplay.

Psycho is full of little hints and prolepses that lead us on, invoking our curiosity and promising pay-offs. In effect, it is built on the principle enunciated by Freud for telling tendentious, i.e., risqué, jokes: establish a suitable mood, protract the listener’s wait for the punch-line, include lesser climaxes along the way that serve as foreshadowing. One classic Hitchcockian prototype was the amusement park sequence in Strangers on a Train (1951). Recall its river-caves sequence where Bruno begins to stalk Miriam, intending to kill her. His boat follows hers, in which she and her boyfriends are fooling around. In the darkness, we hear a girl scream, but it’s a false alarm — girls do squeal when having fun with their young men! Bruno is biding his time. Relentlessly he tracks her, even allowing her to notice him and giving her a come-on. (The trampish Miriam is happy to flirt back.) The group, including Bruno, crosses the park’s lake to its Island of Love where various couples are making out on the sloping grass. The licentious mood is now pronounced. When Miriam briefly becomes separated from the boys — she may even have engineered it to give Bruno his chance — he moves in for the kill, literally. In Psycho, the structure is punctuated by at least three shocking climaxes with frequent little prolepses, including musical cues (read on). Durgnat is perfectly correct when he says that the cumulative effect reduces us to a helpless hysteria! By the final scenes, we are sufficiently worked up and almost pleading with Hitchcock to deliver his coup de grace.

Techniques

One of the director’s unfailing techniques was to work closely with Bernard Herrmann to arouse audience expectations, then relax the tension for a time. (There is a rhythm of suspense.) The score contains any number of ascending and descending passages, intimations of what this film is capable of, and what it will deliver, again and again, and again, i.e., its three main climaxes. Likewise, the script titillates us with little references that are only explained later. Norman refers to his mother’s involvement with a man, after her husband died, who “could have talked her into anything”. Only, when he died too, it was “just too great a shock”. “And,” adds Norman, “the way he died …” He trails off and changes the subject. Later we find out that the shock was Norman’s as much as his mother’s. (In fact, her intention to re-marry had already, in the psychiatrist’s words, “pushed him over the line” and he “killed them both”.) When Lila and Sam go to visit Sheriff Chambers, he mentions in passing “that bad business out [at the Bates Motel] about ten years ago.” Our ears prick up, but we have to wait until given a further clue about how “Norman’s mother has been dead and buried in Greenlawn Cemetery for the past ten years”.  Confused, we still don’t know the details of “that bad business out there.” Finally, the Sheriff describes what he calls a murder-suicide: “Mrs. Bates poisoned this guy she was involved with, when she found out he was married, then took a helping of the same stuff herself. Strychnine.” (Clearly, the police concluded that gentle Norman had nothing to do with it!) And again, when in an overhead high long-shot, already used for the murder of Arbogast, Norman carries Mother downstairs, we hear her protest at being taken to the fruit-cellar: “You hid me there once, boy, and you won’t do it again, not ever again.”  Again confused, we wonder to what occasion she is referring. Only when the psychiatrist clears up matters at the end — in a necessary scene that has been, I think, unfairly maligned5 — do we hear that Norman substituted a weighted coffin for his mother’s body, and, drawing on his taxidermy skills, kept the treated body in the cellar.

Metaphysics

There’s a metaphysical truth underpinning Psycho, giving it weight. In 1960, after completing the film, Hitchcock told an interviewer: “Reality is something that none of us can stand, at any time.” The film’s psychiatrist speaks of reality coming “too close” to Norman, pushing him over the line into madness. Which is tantamount to saying that Norman represents something in all of us. Compare again Schopenhauer’s assertion that we are all bound in subjectivity, that we cannot know the one Will (though we may, he thought, sense it working in, and through, us), only its manifestation in endless Representations. But is your set of Representations ultimately any more real than mine?!

Generally, Hitchcock’s films draw a lot of their suggestive power from what I’ll call their Vague Symbolism.6 I’m thinking, for example, of the role Hitchcock assigns to Psycho‘s stuffed birds (an owl with outspread wings, a perching crow, a pheasant).  And why, for that matter, is Norman himself given bird-like gestures (arms spread out, or twice “flapping” his upraised palm at Marion as if to say, agreeably, “Don’t trouble yourself!”).  As noted, he tells Marion in that same scene, “You eat like a bird!”  Later, Mother defends herself by putting all the blame on Norman: “As if I could do anything but just sit and stare like one of his stuffed birds.” Even Marion, at the end of the parlor scene, as she leaves to go to her room, trails her arm behind her like a wounded bird.  Hitchcock loved such visual poetry, using images – “pure cinema”, he often called it – to say things beyond the everyday power of words to evoke. You might say that he was suggesting parallels between the diversity of the bird realm and the human realm — both have their aggressors and their victims, for example – and again Schopenhauer comes to mind, for his insistence that there is an unbroken continuity between humans and animals: all are part of Will (roughly, the life-force).

Here’s a different form of repetition, which may again suggest the life-force: again and again in the early scenes, Marion’s wide eyes are highlighted, as when, catching up after her lunchtime assignation with Sam, she applies make-up at her desk in the office. Then, when she goes on the road, we are again treated to those same eyes, belonging to the vivacious Janet Leigh. Gradually, though, the glare of the road, and — after night descends — the oncoming headlights of other cars, take their toll, and Marion’s eyes narrow. At one moment, she seems in danger of falling asleep at the wheel. Precisely then, the illuminated “Bates Motel” sign looms up and, fatefully, Marion pulls in. Marion’s murder in her shower — occasioning unprecedented shock and horror for the audience — is aptly underlined by a bravura cut from an extreme close-up of blood running down a plughole to a view of her now lifeless eye, then an incredible sustained pull-back to take in the bedroom and the unattended money, concealed in a folded newspaper. Then on to the open window and a view of the tall house behind the motel. From one of its windows, presumably, the one where we saw Mother pacing when Marion first arrived in the rain (a sound now replaced by that of the still-running shower in Marion’s cabin), comes the voice of Norman: “Mother!  Oh God!  Mother, mother!  Blood, blood!”

In some ways, the wordless scene where Norman, the good, dutiful son, cleans up the shower stall and bath (and, at the last minute, heedlessly tosses the newspaper concealing the stolen money into the boot of Marion’s car alongside her body wrapped in a shower-curtain — a grim parallel there), then sinks the car in the nearby swamp, is my favorite scene in Psycho. (Another is the entire road sequence. Another is Norman and Marion’s conversation.) Here, too, there’s an echo of Macbeth, as when Lady Macbeth says, dismissively and almost facetiously, “A little water clears us of this deed!” Only, Hitchcock wants to underline his grim situation in a cinematic way, at the same time giving us a “breather” after all that has just happened. Once Norman has stowed Marion’s body in the boot, he returns with a mop and pail to clean up. In a “prelude” that signals what will follow, he washes his bloodied hands in the basin. The music has gone high and eerie. His movements are rapid and efficient: no namby-pamby dabbing for Norman. Then he moves on to the bigger task of cleaning up the entire shower stall and bathroom. Again he does the job efficiently, and we watch, riveted. By now, the music is performing little swirling movements of its own in apt curlicues that seem to chase each other, maintaining the eeriness. In retrospect, we can appreciate that they are already evoking the title of the film, a mind that is unhinged (no wonder that Norman had spoken of his dislike of “creepy smells”).

But that’s enough. Psycho is primarily a film to be seen — and lived through. In North by Northwest (1959), Hitchcock had Thornhill say, near the end, “I never felt more alive!” It’s the journey that Hitchcock offers us, that is so rewarding. Over and again!

***

Notes

  1. Too dogmatic? By Durgnat’s own description, the agreeable car-dealer California Charlie is part of what constitutes the Will that impels us all. (After all, Will is ubiquitous.)
  1. Søren Kierkegaard’s The Concept of Dread defined Dread as “a sympathetic antipathy and an antipathetic sympathy”.
  1. Leading the way, Saul Bass’s opening titles for North by Northwest (1959) incorporated a stylised MGM lion roaring against a sinister green background.

4.  Hitchcock acknowledged his admiration for Hopper’s paintings — among which, of course, is “House by the Railroad” (1925), a palpable model for the Psycho house.

Edward Hopper - House by the Railroad (1925)

  1. Employing a culinary metaphor, someone has said that many reviewers and critics appear to “have never been in the kitchen” — meaning, they’ve not considered every aspect of what it takes to prepare a balanced and satisfying meal.
  1. I don’t mean the elusive “figure in the carpet” of an author’s work, as incorporated in the title of Henry James’s novella (1896) to which Penelope Houston referred in her denigratory article on Hitchcock in the Autumn 1963 Sight and Sound. But nor do I mean a simple symbol like the final image of North by Northwest (a train entering a tunnel) which Hitchcock admitted was a phallic symbol!

***

Ken Mogg has published widely on Hitchcock; his The Alfred Hitchcock Story (1999, revised 2008) covers every film “in loving detail” (Bill Krohn). His recent writing includes a chapter on Topaz and (the script of) The Short Night in Hitchcock and the Cold War (Pace University Press, 2018), a chapter on Alfred Hitchcock Presents in Children, Youth, and American Television (Routledge, 2018), a chapter on “Hitchcock’s Literary Influences” for A Companion to Alfred Hitchcock (Wiley Blackwell 2011,  2014), and an essay on “The Cutting Room” in 39 Steps to the Genius of Alfred Hitchcock (BFI, 2012).

Blu-ray Review: The House of Hitchcock – Limited Edition Collection

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Distributor: Universal Studios

Release Date: October 01, 2019

Region: Region A

Notes: These films are also available individually with standard Blu-ray packaging, as part of The Masterpiece Collection, and as part of The Ultimate Collection.

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Universal owns the rights to more Alfred Hitchcock titles than any other studio, and they certainly milk these properties for every penny that they are able to squeeze out of his admirers. However, one really shouldn’t complain since this gives fans an opportunity to own these films with plenty of choice as to how these discs are packaged. Each of the films available in this collection have been available on Blu-ray for quite some time (as individually packaged titles, as a part of The Masterpiece Collection, and as part of The Ultimate Collection), and these image and sound transfers are the same ones utilized for those earlier releases. What’s more, these discs include the same supplemental material. Interested parties can read more detailed information about each of the discs included in this set by clicking on the links below:

Saboteur

Shadow of a Doubt

Rope

Rear Window

The Trouble with Harry

The Man Who Knew Too Much

Vertigo

North by Northwest

Psycho

The Birds

Marnie

Torn Curtain

Topaz

Frenzy

Family Plot

The House of Hitchcock also includes the two standard definition DVDs that focus on Hitchcock’s television work that originally appeared in The Ultimate Collection:

The Best of ‘Alfred Hitchcock Presents

This new disc showcases a single Alfred Hitchcock directed episode from all seven seasons of Alfred Hitchcock Presents. The following episodes are included:

Revenge (Season 1, Episode 1)

The series premiere of Alfred Hitchcock Presents is one of the show’s best episodes. It first aired on October 02, 1955 and starred Vera Miles and Ralph Meeker. Those who admire The Andy Griffith Show will also notice Frances Bavier in a supporting role. The story by Samuel Blas follows Carl and Elsa Spann, a newlywed couple just starting their life. Elsa has recently suffered a nervous breakdown but seems to be on her way to recovery. Unfortunately, Carl returns home from work one evening to find that his wife has been attacked. When the police prove to be unhelpful, Carl decides to get justice on his own.

Vera Miles gives a great performance here—a performance that looks forward to her portrayal of Rose Balestrero in Alfred Hitchcock’s under-appreciated docudrama, The Wrong Man.

Mr. Blanchard’s Secret (Season 2, Episode 13)

Mr. Blanchard’s Secret pales in comparison. The episode first aired on December 23, 1956 and starred Mary Scott, Robert Horton, Dayton Lummis, and Meg Mundy. The story by Emily Neff revisits some of the themes better explored in Alfred Hitchcock’s Rear Window. Babs Fenton, a housewife with an overactive imagination who fancies herself a writer, believes that Mr. Blanchard has murdered his wife. However, her suspicions are called into serious question when Mrs. Blanchard shows up at their door looking to be very much alive. Babs alters her theory as to the reason behind Mr. Blanchard’s suspicious behavior only to be proven wrong once again.

Lamb to the Slaughter (Season 3, Episode 28)

Lamb to the Slaughter is rightly mentioned amongst the series best episodes. It aired on April 13, 1958 and stars Barbara Bel Geddes (who portrayed Midge in Vertigo that same year). The story by Roald Dahl follows a devoted housewife named Mary Maloney who decides to kill her cheating husband with a frozen leg of lamb rather than let him leave her. What follows is classic Hitchcock.

Poison (Season 4, Episode 1)

Poison—which was based upon another tale by Dahl—first aired on October 05, 1958 and stars Hitchcock alumnus Wendell Corey and James Donald. Harry Pope (Donald) wakes up with a poisonous snake in his bed. Worse, it finds a comfortable place to rest right on his chest. The entire episode is devoted to solving this tense predicament.

Arthur (Season 5, Episode 1)

Arthur first aired on September 27, 1959 and stars Laurence Harvey in the title role. Unusually for an Alfred Hitchcock Presents episode, the story begins with Arthur standing amongst a large number of chickens as he addresses the audience directly. After this opening monologue, we flash back in time as he tells the viewer how he killed his gold-digging girlfriend and was able to get away with it. The story itself is rather amusing, but the framing device at the beginning and end doesn’t work very well (possibly because there is already an introduction and epilogue performed by Hitchcock).

Mrs. Bixby and the Colonel’s Coat (Season 6, Episode 1)

Mrs. Bixby and the Colonel’s Coat is more benign than many episodes, but it has a very similar sense of irony. It originally aired on September 27, 1960 and stars Audrey Meadows, Les Tremayne, and Stephen Chase. The story by Roald Dahl follows Mrs. Bixby as she visits her secret lover “the Colonel,” who ends their affair but offers her a mink coat as a parting gift. She isn’t sure how to explain the coat to her husband, so she pawns the item without putting a description on the ticket. She then tells her husband that she has found the ticket and instructs him to turn it in for the pawned item. Obviously, things aren’t going to work out in quite the way that she expects.

Bang! You’re Dead! (Season 7, Episode 2)

Bang! You’re Dead! originally aired on October 17, 1961 and is the final episode that Alfred Hitchcock directed for the original half-hour series. It was based on a story by Margery Vosper and stars Billy Mumy as a young Jackie Chester—a spoiled six-year-old who mistakes a loaded gun for a gift from his uncle. The child then proceeds to pretend he is an outlaw and points it at the random people he meets throughout the day. It is only a matter of time before he actually pulls the trigger. Meanwhile, his family has discovered the mistake and tries frantically to locate him. Hitchcock’s gift for building suspense is evident throughout the duration.

Special Features:

This disc also includes a single special feature entitled Alfred Hitchcock Presents: A Look Back. Gary Leva’s 15 minute featurette is far from a comprehensive examination of the series, but the retrospective interviews with Norman Lloyd, Hilton A. Green, and Patricia Hitchcock do reveal some general information about how the show was produced and those responsible for its success.

The Best of ‘The Alfred Hitchcock Hour

The second new disc showcases a single episode from all three seasons of The Alfred Hitchcock Hour. Unlike the first disc, only the first of these episodes is actually directed by Alfred Hitchcock since he only directed a single episode of this series. The following episodes are included:

I Saw the Whole Thing (Season 1, Episode 4)

I Saw the Whole Thing is the only episode of The Alfred Hitchcock Hour that was actually directed by Alfred Hitchcock. It originally aired on October 11, 1962 and is based on a short story by Henry Cecil. Hitchcock alumnus John Forsythe portrays Michael Barnes in this Rashomon-like courtroom drama with an interesting twist. Barnes has been accused of causing a fatal car accident, but he insists that he is completely innocent and acts as his own attorney at his trial. In court, he proves that the various eyewitnesses called by the prosecution are unreliable.

Three Wives Too Many (Season 2, Episode 12)

Three Wives Too Many was directed by Joseph M. Newman and was based on a short story by Kenneth Fearing. It aired on January 03, 1964 and stars Hitchcock alumnus Teresa Wright, Linda Lawson, Jean Hale, and Dan Duryea. The story follows a bigamist who is suspected of murdering his various wives.

Death Scene (Season 3, Episode 20)

Death Scene was directed by Harvey Hart and was based on a story by Helen Nielsen. The episode aired on March 08, 1965 and features Hitchcock alumnus Vera Miles as Nicky Revere, the daughter of a movie director named Gavin Revere (John Carradine). It is best that viewers see this particular episode knowing as little as is possible about the actual story, but it is certainly one of the most memorable of the hour-long episodes.

Special Features:

This disc includes a single featurette entitled Fasten Your Seatbelt: The Thrilling Art of Alfred Hitchcock. This six minute fluff piece includes interviews with Martin Scorsese, Guillermo del Toro, William Friedkin, John Carpenter, Eli Roth, and Joe Carnahan, but none of these filmmakers say anything particularly enlightening. It is almost like an EPK created to sell the idea of Hitchcock’s brilliance without ever revealing anything that isn’t immediately obvious.

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This photograph was used to promote ‘Alfred Hitchcock Presents‘ in 1955.

It’s nice to have both of these new standard definition discs included here, but it is impossible not to wonder why Universal didn’t choose to release discs with each of the seventeen Hitchcock-directed episodes of Alfred Hitchcock Presents and his single episode of The Alfred Hitchcock Hour instead. Such a collection would have been a much more appropriate and satisfying addition to the package. What’s more, this approach would’ve only required one more disc (three instead of the two). Actually, it is ridiculous that Universal hasn’t already released these episodes together in a single collection.

In addition, one cannot help but lament some of the choices made by Universal as to which episodes to include. Some of these episodes are inferior to other Hitchcock-directed episodes from that respective season. For example, season two’s One More Mile to Go is vastly superior to Mr. Blanchard’s Secret. In fact, it is one of the best of the entire series. Of course, this particular issue wouldn’t be a problem if all of the Hitchcock directed episodes had been included.

The Presentation:

4.5 of 5 MacGuffins

HOH Contents

Universal’s ‘The House of Hitchcock’ packaging is a significant improvement over their previous Blu-ray sets. Both of those releases offered book-style packaging. This means that the various discs were housed in folder-like sleeves, and this particular approach leaves discs vulnerable to scratching and other types of damage. Since disc protection should always be a priority, it is nice to see that this collection protects the discs in actual cases. Unfortunately, three or four discs are housed together in only four cases instead of giving each film its own case and artwork. Those who believe that this is a space-saving technique are naïve. This keeps production costs down for Universal, and gives the consumer significantly less bang for the buck. Luckily, they do a fairly good job on the multi-film artwork.

A small book is also included. Those who have purchased one of the earlier sets will know exactly what to expect here. It adds quite a bit of value to the package even if there isn’t much in the way of information here (and some of it borders on being erroneous). It’s really just a fun bit of swag… and swag is what this release contains that the earlier two releases didn’t. There are fifteen art cards that feature the one sheet designs for each of the films included in the set. There are set blueprints for the infamous Psycho house, replicas of letters and memos, stationery with ‘Bates Motel’ printed on it (in case you want to make your friends back home feel envious), and a Psycho-themed “Please, Do Not Disturb” sign.

The theme and design of the package is a bit kitschy, and it is slightly bothersome that it is so Psycho-centric since there are fifteen films included here (and only one of those films is Psycho).

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Final Words:

The House of Hitchcock obviously contains a wealth of essential Hitchcock classics, but the discs included here are the same ones that have been available for quite some time. Those who already own these films on Blu-ray (either individually or as part of The Masterpiece Collection or The Ultimate Collection) can save their pennies.

Those who own The Ultimate Collection will already have the two ‘Alfred Hitchcock Presents’ and ‘The Alfred Hitchcock Hour’ discs, and those who only own the films individually or as part of The Masterpiece Collection probably won’t feel that these two discs are worth the price of the set (especially considering the fact that they are in standard definition). What’s more, the swag contained in this new release can be filed under “less than meets the eye.” They certainly don’t warrant an upgrade on their own.

Review by: Devon Powell

Offbeat 4K UHD Review: Halloween

Blu-ray Cover

Distributor: Lionsgate Films

Release Date: September 25, 2018

Region: Region A

Length: 01:30:56

Video: 2160P (HEVC, H.265)

Main Audio: 7.1 English Dolby TrueHD (48kHz, 24-bit)

Alternate Audio: Mono English Dolby Digital Audio

Subtitles: English, English SDH, Spanish

Ratio: 2.35:1

Notes: This title has seen many DVD releases and two Blu-ray releases. This marks the film’s UHD debut. Special features are never consistent when it comes to this particular title, and this creates a problem for anyone who wishes for a clean upgrade. The transfer for the UHD disc was sourced from different elements than the included Blu-ray (see below for a more detailed analysis).

Halloween

“Well, you call it a slasher film. I guess the original slasher film was Psycho. That was the film that all of these things are kind of based on… Psycho was the big daddy of them all. And it had a literal slashing scene in it! The famous shower scene. So I don’t think I created anything…” –John Carpenter (Crave Online, Oct 23rd, 2013)

Is it even possible to discuss John Carpenter’s classic without mentioning Psycho? It’s difficult to find an article about (or a review of) Halloween that doesn’t at least mention Hitchcock’s landmark film. In fact, Roger Ebert opened his original review of Halloween with a quote by Alfred Hitchcock before he proceeded to compare the two films:

“‘I enjoy playing the audience like a piano.’ –Alfred Hitchcock

So does John Carpenter. Halloween is an absolutely merciless thriller, a movie so violent and scary that, yes, I would compare it to Psycho. It’s a terrifying and creepy film about what one of the characters calls Evil Personified… Halloween is a visceral experience — we aren’t seeing the movie, we’re having it happen to us. It’s frightening. Maybe you don’t like movies that are really scary: Then don’t see this one… Credit must be paid to filmmakers who make the effort to really frighten us, to make a good thriller when quite possibly a bad one might have made as much money. Hitchcock is acknowledged as a master of suspense; it’s hypocrisy to disapprove of other directors in the same genre who want to scare us too.

It’s easy to create violence on the screen, but it’s hard to do it well… ” –Roger Ebert (Chicago Sun-Times, October 31, 1979)

John Carpenter during the production of Halloween (1978)

John Carpenter during the production of Halloween.

The truth is that there is very little “violence on the screen” after the film’s opening murder sequence. Carpenter plays by the same rules utilized by Hitchcock while maintaining a style all his own. It is no small wonder that Ebert goes on to describe Carpenter’s expert command of the frame—it is a command that demands participation from the viewer. The film’s killer, Michael Myers, looms ominously in the background and usually remains in the shadows (or is seen at some distance). He is a malignant force that can be felt even when our eyes might miss him, and one never knows where he might turn up next. At other times, he will appear mysteriously in the foreground as his potential victims complacently go about their lives in the distance. Either way, the audience is aware of his presence while the teenagers remain blissfully in the dark—and this is Hitchcock’s primary rule for creating suspense. We know something that the characters do not know, and their ignorance may very well cost them their lives.

The emphasis is on the stalking sequences instead of the inevitable carnage. The eventual deaths contain little violence and relatively little blood. It simply isn’t needed. Carpenter, like Hitchcock before him, shows his audience the threat before making them wait for the violence. He has an uncanny ability to slowly build an audience’s anticipation until the suspense is nearly intolerable.

Janet Leigh and Jamie Lee Curtis

Mother and Daughter: Janet Leigh with Jamie Lee Curtis.

However, while one cannot deny that Hitchcock’s influence on Carpenter can be felt while watching Halloween, one doubts if a thorough comparison to Psycho would withstand serious scrutiny. Frankly, most of their commonalities are somewhat superficial. One imagines that Halloween’s various homages to Hitchcock’s film is responsible for linking these two vastly different exercises in suspense: Dr. Sam Loomis was named after John Gavin’s character in Psycho, Marion Chambers seems to be an amalgam of Janet Leigh’s Marion Crane and John McIntire’s Sheriff Chambers, and Jamie Lee Curtis is the daughter of Janet Leigh. One could argue that both Bates and Myers favor the butcher knife as their weapon of choice, but this isn’t a particularly revelatory observation.

Janet Leigh (Psycho) and Jamie Lee Curtis (Halloween)

Janet Leigh as ‘Marion Crane’ in Psycho and Jamie Lee Curtis as ‘Laurie Strode’ in Halloween.

Sam Loomis and Dr. Sam Loomis

John Gavin as ‘Sam Loomis’ in Psycho and Donald Pleasence as ‘Dr. Sam Loomis’ in Halloween.

Several scholars have chosen to compare the original murders of Michael Myers and Norman Bates from a quasi-psychological perspective and argue that Myers murdered his sister for showing another boy sexual attention just as Bates dispatched his mother for having a relationship with another man. This reading of the film suggests that, like Norman Bates, Myers is a stunted adolescent. Norman Bates forms an alternate personality to keep from facing the consequences of his actions while Myers literally wears a mask to keep reality at bay. This would certainly explain why sex seems to act as a trigger for Myers, and such an examination would definitely be more interesting than the popular opinion that Halloween is a kind of puritanical morality play about the evils of carnal knowledge (a reading that Carpenter himself has always argued against). It might be very interesting to view the film from this perspective, but it is impossible not to feel that this particular argument is a bit overreaching.

Perhaps it doesn’t matter either way. After all, the fact that Halloween is still being discussed and analyzed some forty years after its initial release places it in a distinguished group of timeless classics—and this is inarguably something that the film shares with Psycho. What else matters?

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The Presentation:

4 of 5 MacGuffins

Lionsgate houses their UHD and Blu-ray discs in a standard 2-disc UHD case with a sleeve that includes the same iconic jack-o’-lantern artwork that graced the film’s most popular one sheet. This is as it should be! It is one of the best marketing images that has ever been produced for a horror film. The first pressing also includes a sleeve with this same artwork that will help protect the case and the discs that are housed inside.

One Sheet.jpg

The UHD menu is reasonably attractive and easy to navigate. Meanwhile, the included Blu-ray features the same animated menu seen on Anchor Bay’s original Blu-ray release of Halloween in 2007. (It is exactly the same disc. The only difference is the artwork that decorates it.)

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Picture Quality:

UHD: 4.5 of 5 MacGuffins
Blu-ray: 3.5 of 5 MacGuffins

Disc 1: 4K UHD

This transfer was approved by John Carpenter and Dean Cundy, so fans can breathe a collective sigh of relief! This disc offers the viewer an option of HDR10 and Dolby Vision. The film has been scanned at native 4K for this release, and the result is really quite pleasing to the eye. There is, of course, a natural patina of grain inherent in the image, but this only adds to the filmic look of this overall transfer. The significant increase in resolution and dynamic range has resulted in a crisper and significantly more detailed image. The anamorphic lenses tend to result in a softer look at the edges of the frame, but this is hardly the fault of the transfer. Everything looks terrific here! The best news of all is that the color timing seems to correspond with the filmmaker’s original intention and mirrors the overall look of the “35th Anniversary” Blu-ray release.

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Disc 2: Blu-ray

It is next to impossible to review this image transfer without also discussing the film’s “35th Anniversary” Blu-ray released in 2013. This disc is actually an earlier 2007 release—complete with the same opening previews, menu, and transfer. It has simply been decorated with artwork from the 2013 release. This may be confusing, but trust us when we tell you that this is the 2007 version.

The transfer included here simply isn’t inaccurate and doesn’t represent the original intention of those who worked on it. It is way too bright as the image practically glows, and the color timing is a complete mess. This throws the film’s tone off-kilter (a real tragedy as Carpenter has an amazing ability to create an atmosphere of dread). Unfortunately, these aren’t the only areas in which the later edition bests this disc in terms of image quality. The early exterior scenes were vastly improved and exhibit less vibrant colors and more natural skin tones than this particular transfer (as the colors here read much too warm). It had a crisper and more detailed image as well and clarity isn’t quite as good here either.

When the “35th Anniversary” edition was released, marketing materials highlighted the fact that it was a new transfer that had been overseen by Dean Cundey (the film’s cinematographer):

“A lot of the previous editions had just been made from a print or a previous digital version or whatever. I was very impressed by the fact that they wanted to make this sort of the definitive copy. Obviously, Blu-ray is, at the moment, state-of-the-art, and the fact that they went back to original materials, the camera negative and IP, and brought John and myself in to sort of approve the work and make sure it looked like our original intention, was highly commendable, I think. Yes, they did take advantage of all the latest technology, with scratch and dirt removal, things like that, so it is a very pristine example of the movie we made.” –Dean Cundey (Liner Notes: “35th Anniversary” Edition, 2013)

Such careful preparation was obviously in response to this disc, so those who own the “35th Anniversary” Edition would be wise to hold on to it if they wish to own the very best transfer in both the UHD and Blu-ray formats.

One wonders why they chose this disc over the other edition, and the only reason one can reasonably conceive is that this disc was chosen so that Halloween fanatics could have the supplements included here (since the supplements on the UHD have been carried over from the “35th Anniversary” edition). However, they could have easily put them on the freshly minted UHD along with the others if this was the reasoning behind this choice.

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Sound Quality:

UHD: 4 of 5 MacGuffins
Blu-ray: 4 of 5 MacGuffins

The disc employs a TrueHD 7.1 lossless mix that is an obvious upgrade from the previous disc. The film’s iconic score has never sounded more dynamic and the dialogue is noticeably clearer than in the previous Blu-ray edition. This is especially clear in an early car scene where Dr. Loomis and Marion Chambers are driving in the storm. In the previous release, the dialogue seemed to be swallowed by the sounds of the storm. Here it seems to be balanced at a more acceptable level. The track has decent range and clarity making for a solid listening experience. It would be unreasonable to believe that a 7.1 mix on an older low budget film could sound any better than it does on this disc.

It will irritate most purists to discover that a high definition transfer of the film’s original mono mix isn’t included here, and I must admit that I include myself in this group. I’m tempted to give the sound a three star rating do to this oversight, but one doesn’t wish to give an unfair assessment of what is actually here.

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Special Features:

UHD: 3 of 5 MacGuffins
Blu-ray: 4 of 5 MacGuffins
Total: 4.5 of 5 MacGuffins

Disc 1: 4K UHD

Every supplement featured on this UHD disc has been carried over from the “35th Anniversary” Blu-ray edition of Halloween.

Feature Length Audio Commentary with John Carpenter and Jamie Lee Curtis

People will likely feel that this new commentary is superior in some ways to the track on the 2007 Blu-ray disc that has been included in this same package. That track includes John Carpenter, Jamie Lee Curtis, and Debra Hill—but all three of these collaborators were recorded individually for that track, and the result isn’t nearly as fluid as the conversation between Carpenter and Curtis that is featured here. Having said this, the other track might be a bit more informative than this one. Both tracks should be of interest to fans of the film.

TV Version Footage – (SD) – (10:46)

This collection of scenes is actually my favorite supplement on the UHD disc. They were shot by Carpenter during the production of Halloween II in order to extend the film’s length for its original television broadcast, but he claims to regret doing this and feels that he sold out. It’s easy to understand why the director doesn’t care for them as they add nothing to the proceedings and interrupt the fluidity of the overall film. Having said this, one is happy to have them included on this disc for fans to revisit.

The Night She Came Home!! – (HD) – (59:43)

This featurette gives fans a glimpse of Jamie Lee Curtis as she attends a horror convention in order to monetize her horror celebrity for charity. She is shown signing autographs, talking to her fans, taking photos, and even hanging out with other Halloween alumni. Fans should find it extremely interesting if somewhat anemic when it comes to the amount of actual information provided. It simply isn’t terribly revelatory.

On Location: 25 Years Later – (SD) – (10:25)

This feature is ported over from one of the film’s many DVD editions and is a look at the various South Pasadena locations as they appeared on the film’s 25th anniversary. It is worth viewing, but why did they not include Halloween Unmasked 2000 instead? Unmasked is a 28 minute documentary about the making of the film that is far more informative than this featurette, and it includes some of the film’s important locations as well. What’s more, it hasn’t been included on either of the film’s Blu-ray releases. Oh well.

Theatrical Trailer – (SD) – (02:42)

It is nice to have the film’s trailer included. Too many supplemental packages seem to forget this basic feature.

Three Television Spots – (SD) – (00:32, 00:32, 00:12)

Three Radio Spots – (HD) – (00:29, 00:27, 00:28)

These vintage television and radio spots are interesting artifacts and nice additions to the supplemental package (even if watching them all together does tend to become somewhat repetitive).

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Disc 2: Blu-ray

Again, this is the exact same disc that was released by Anchor Bay in 2007. The disc includes three unique supplements.

Feature Length Audio Commentary with John Carpenter, Jamie Lee Curtis, and Debra Hill

As mentioned previously, this commentary track may provide a bit more information to listeners than the 2013 track discussed above, but one’s listening experience isn’t quite as fluid. Basically, both tracks have their own strengths and weaknesses.

Halloween: A Cut Above the Rest – (SD) – (01:27:07)

The best overall supplement included in this set is undoubtedly this feature-length “behind the scenes” documentary. It covers the entire production history of Halloween, the film’s release, and its enduring legacy. Frankly, it was incredibly annoying to find that the “35th Anniversary” Blu-ray didn’t include this essential supplement. Those who are annoyed that Lionsgate included the 2007 Blu-ray instead of the “35th Anniversary” Edition may find solace in the fact that they are getting an excellent documentary that wasn’t included in that later edition.

Fast Film Facts (Textual Trivia Track)

This feature allows the viewer to watch the films with occasional trivia information occasionally appearing on the screen (very much like subtitles). One doubts if most people will want to revisit this particular feature terribly often since it tends to take one out of the film. It would be better to utilize this option while listening to the commentary track.

Trailer – (SD) – (02:42)

Three Television Spots – (SD) – (00:32, 00:32, 00:12)

Three Radio Spots – (HD) – (00:29, 00:27, 00:28)

The Theatrical Trailer, Television Spots, and Radio Spots are all exactly the same as those featured on the UHD disc.

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Final Words:

John Carpenter’s Halloween is forty years old and still going strong. It is an incredibly efficient suspense thriller that demands to be revisited. Luckily, it can now be revisited in 4K UHD. Just remember to hold on to your “35th Anniversary” Edition Blu-rays since the image transfer on that release is vastly superior to the Blu-ray included in this package.

Review by: Devon Powell

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Alternate Poster

 

Blu-ray Review: 78/52 – Hitchcock’s Shower Scene

Blu-ray Cover

Distributor: Shout Factory

Release Date: February 27, 2018

Region: Region A

Length: 01:31:46

Video: 1080P (MPEG-4, AVC)

Main Audio:

5.1 DTS-HD Master Audio

2.0 DTS-HD Master Audio

Subtitles: English, Spanish

Ratio: 1.78:1

Note: This release comes with a DVD disc that is housed in the same case.

Poster

“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).

Alexandre O. Philippe - Director

Alexandre O. Philippe directed 78/52: Hitchcock’s Shower Scene.

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.

One Sheet

The Presentation:

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.

Picture Quality:

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.

Sound Quality:

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.

Special Features:

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.

Final Words:

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

Blu-ray Review: Alfred Hitchcock – The Ultimate Collection

Blu-ray Cover

Distributor: Universal Studios

Release Date: October 17, 2017

Region: Region A

Notes: These films are also available individually with standard Blu-ray packaging and as a part of The Masterpiece Collection.

Universal owns the rights to more Alfred Hitchcock titles than any other studio, and they certainly milk these properties for every penny that they are able to squeeze out of his admirers. However, one really shouldn’t complain since this gives fans an opportunity to own these films with plenty of choice as to how the discs are packaged. Each of the films available in this collection have been available on Blu-ray for quite some time (both as individually packaged titles and as a part of The Masterpiece Collection), and these image and sound transfers are the same ones utilized for those earlier releases. What’s more, these discs include the same supplemental material. Interested parties can read more detailed information about each of the discs included in this set by clicking on the individual links below:

Saboteur

Shadow of a Doubt

Rope

Rear Window

The Trouble with Harry

The Man Who Knew Too Much

Vertigo

North by Northwest

Psycho

The Birds

Marnie

Torn Curtain

Topaz

Frenzy

Family Plot

What really sets this release apart from the previous releases is that it includes two new standard definition DVDs that focus on his television work:

The Best of ‘Alfred Hitchcock Presents’

This new disc showcases a single Alfred Hitchcock directed episode from all seven seasons of Alfred Hitchcock Presents. The following episodes are included:

Revenge (Season 1, Episode 1)

The series premiere of Alfred Hitchcock Presents is one of the show’s best episodes. It first aired on October 02, 1955 and starred Vera Miles and Ralph Meeker. Those who admire The Andy Griffith Show will also notice Frances Bavier in a supporting role. The story by Samuel Blas follows Carl and Elsa Spann, a newlywed couple just starting their life. Elsa has recently suffered a nervous breakdown but seems to be on her way to recovery. Unfortunately, Carl returns home from work one evening to find that his wife has been attacked. When the police prove to be unhelpful, Carl decides to get justice on his own.

Vera Miles gives a great performance here—a performance that looks forward to her portrayal of Rose Balestrero in Alfred Hitchcock’s under-appreciated docudrama, The Wrong Man.

Mr. Blanchard’s Secret (Season 2, Episode 13)

Mr. Blanchard’s Secret pales in comparison. The episode first aired on December 23, 1956 and starred Mary Scott, Robert Horton, Dayton Lummis, and Meg Mundy. The story by Emily Neff revisits some of the themes better explored in Alfred Hitchcock’s Rear Window. Babs Fenton, a housewife with an overactive imagination who fancies herself a writer, believes that Mr. Blanchard has murdered his wife. However, her suspicions are called into serious question when Mrs. Blanchard shows up at their door looking to be very much alive. Babs alters her theory as to the reason behind Mr. Blanchard’s suspicious behavior only to be proven wrong once again.

Lamb to the Slaughter (Season 3, Episode 28)

Lamb to the Slaughter is rightly mentioned amongst the series best episodes. It aired on April 13, 1958 and stars Barbara Bel Geddes (who portrayed Midge in Vertigo that same year). The story by Roald Dahl follows a devoted housewife named Mary Maloney who decides to kill her cheating husband with a frozen leg of lamb rather than let him leave her. What follows is classic Hitchcock.

Poison (Season 4, Episode 1)

Poison—which was based upon another tale by Dahl—first aired on October 05, 1958 and stars Hitchcock alumnus Wendell Corey and James Donald. Harry Pope (Donald) wakes up with a poisonous snake in his bed. Worse, it finds a comfortable place to rest right on his chest. The entire episode is devoted to solving this tense predicament.

Arthur (Season 5, Episode 1)

Arthur first aired on September 27, 1959 and stars Laurence Harvey in the title role. Unusually for an Alfred Hitchcock Presents episode, the story begins with Arthur standing amongst a large number of chickens as he addresses the audience directly. After this opening monologue, we flash back in time as he tells the viewer how he killed his gold-digging girlfriend and was able to get away with it. The story itself is rather amusing, but the framing device at the beginning and end doesn’t work very well (possibly because there is already an introduction and epilogue performed by Hitchcock).

Mrs. Bixby and the Colonel’s Coat (Season 6, Episode 1)

Mrs. Bixby and the Colonel’s Coat is more benign than many episodes, but it has a very similar sense of irony. It originally aired on September 27, 1960 and stars Audrey Meadows, Les Tremayne, and Stephen Chase. The story by Roald Dahl follows Mrs. Bixby as she visits her secret lover “the Colonel,” who ends their affair but offers her a mink coat as a parting gift. She isn’t sure how to explain the coat to her husband, so she pawns the item without putting a description on the ticket. She then tells her husband that she has found the ticket and instructs him to turn it in for the pawned item. Obviously, things aren’t going to work out in quite the way that she expects.

Bang! You’re Dead! (Season 7, Episode 2)

Bang! You’re Dead! originally aired on October 17, 1961 and is the final episode that Alfred Hitchcock directed for the original half-hour series. It was based on a story by Margery Vosper and stars Billy Mumy as a young Jackie Chester—a spoiled six-year-old who mistakes a loaded gun for a gift from his uncle. The child then proceeds to pretend he is an outlaw and points it at the random people he meets throughout the day. It is only a matter of time before he actually pulls the trigger. Meanwhile, his family has discovered the mistake and tries frantically to locate him. Hitchcock’s gift for building suspense is evident throughout the duration.

Special Features:

This disc also includes a single special feature entitled Alfred Hitchcock Presents: A Look Back. Gary Leva’s 15 minute featurette is far from a comprehensive examination of the series, but the retrospective interviews with Norman Lloyd, Hilton A. Green, and Patricia Hitchcock do reveal some general information about how the show was produced and those responsible for its success.

The Best of ‘The Alfred Hitchcock Hour’

The second new disc showcases a single episode from all three seasons of The Alfred Hitchcock Hour. Unlike the first disc, only the first of these episodes is actually directed by Alfred Hitchcock since he only directed a single episode of this series. The following episodes are included:

I Saw the Whole Thing (Season 1, Episode 4)

I Saw the Whole Thing is the only episode of The Alfred Hitchcock Hour that was actually directed by Alfred Hitchcock. It originally aired on October 11, 1962 and is based on a short story by Henry Cecil. Hitchcock alumnus John Forsythe portrays Michael Barnes in this Rashomon-like courtroom drama with an interesting twist. Barnes has been accused of causing a fatal car accident, but he insists that he is completely innocent and acts as his own attorney at his trial. In court, he proves that the various eyewitnesses called by the prosecution are unreliable.

Three Wives Too Many (Season 2, Episode 12)

Three Wives Too Many was directed by Joseph M. Newman and was based on a short story by Kenneth Fearing. It aired on January 03, 1964 and stars Hitchcock alumnus Teresa Wright, Linda Lawson, Jean Hale, and Dan Duryea. The story follows a bigamist who is suspected of murdering his various wives.

Death Scene (Season 3, Episode 20)

Death Scene was directed by Harvey Hart and was based on a story by Helen Nielsen. The episode aired on March 08, 1965 and features Hitchcock alumnus Vera Miles as Nicky Revere, the daughter of a movie director named Gavin Revere (John Carradine). It is best that viewers see this particular episode knowing as little as is possible about the actual story, but it is certainly one of the most memorable of the hour-long episodes.

Special Features:

This disc includes a single featurette entitled Fasten Your Seatbelt: The Thrilling Art of Alfred Hitchcock. This six minute fluff piece includes interviews with Martin Scorsese, Guillermo del Toro, William Friedkin, John Carpenter, Eli Roth, and Joe Carnahan, but none of these filmmakers say anything particularly enlightening. It is almost like an EPK created to sell the idea of Hitchcock’s greatness without ever revealing anything that isn’t immediately obvious.

Promotional photograph for 'Alfred Hitchcock Presents' from 1962, taken by Gabor 'Gabi' Rona

This is a promotional photograph for ‘Alfred Hitchcock Presents’ that was taken in 1962 by Gabor ‘Gabi’ Rona.

It’s nice to have both of these new standard definition discs included here, but it is impossible not to wonder why Universal didn’t choose to release discs with each of the seventeen Hitchcock-directed episodes of Alfred Hitchcock Presents and his single episode of The Alfred Hitchcock Hour instead. Such a collection would have been a much more appropriate and satisfying addition to the package. What’s more, this approach would’ve only required one more disc (three instead of the two). Actually, it is ridiculous that Universal hasn’t already released these episodes together in a single collection.

In addition, one cannot help but lament some of the choices made by Universal as to which episodes to include. Some of these episodes are inferior to other Hitchcock-directed episodes from that respective season. For example, season two’s One More Mile to Go is vastly superior to Mr. Blanchard’s Secret. In fact, it is one of the best of the entire series. Of course, this particular issue wouldn’t be a problem if all of the Hitchcock directed episodes had been included.

The Presentation:

4 of 5 MacGuffins

The packaging is very similar to Universal’s Masterpiece Collection, but the artwork is somewhat different. It is of course a matter of taste as to which is better, but most should agree that the design is just as pleasing as the one utilized for that earlier release. From an aesthetic standpoint, this collection is beyond reproach. Unfortunately, it is the sort of design that seems special on the surface but actually provides the consumer with less value than if each film had been provided with a sturdy individual Blu-ray case.

It is time for studios to do away with these book-style sets that house the discs in folder-like sleeves. This leaves the discs vulnerable to scratching and other types of damage, and disc protection should always be the first priority when designing these collections. What’s more, it doesn’t allow the collector to arrange their collections in the manner that they might wish. (This reviewer prefers chronological arrangement).

The Ultimate Collection

This particular book-style release devotes two pages to each of the films included therein. The first of the two pages features the film’s one sheet while the second includes a quote, a brief description of the film, and a list of bonus features. A promotional still from the film is also utilized. Since this is the same information that one might find on the slip sleeve of any regular release, it only gives one the appearance of additional value when in actuality it is probably much cheaper than including individual cases for each title.

A small softbound book entitled “The Master of Suspense” is also included. There are around 58-60 pages worth of material here (depending on how one chooses to count them), and it does add a bit of value to the package. It includes some extremely general biographical information about Hitchcock and his career, a few paragraphs about his leading men, a page that focuses on “The Hitchcock Blondes,” two pages that focus on Edith Head (including a handful of costume sketches), two pages that showcase Saul Bass (with a series of screenshots from the title sequences for Vertigo and Psycho), a page about Bernard Herrmann, a half page about “The MacGuffin,” and another half page about the director’s cameo appearances. After these subjects, the book focuses on each of the films included in this set. Film trivia, artwork, storyboards, photographs, letters, and memorandum have been included throughout these pages in Universal’s effort to create an attractive keepsake. There isn’t much in the way of information here (and some of it borders on being erroneous), but it does make for a fun reading experience.

Final Words:

The back sleeve of this release screams “The Best of Alfred Hitchcock,” and one must admit that the set does include a number of the master’s best films. However, it is ridiculous to claim that the set represents Hitchcock’s best work because some of his best films aren’t included here while some of his worst films are present. For example, few would rank Topaz above Notorious or Strangers on a Train. This set is simply a complete collection of the films that Universal actually owns (with North by Northwest included as a healthy bonus due to a licensing trade).

It is certainly an impressive collection of films and those that don’t mind the folder-book packaging might wish to grab this set while supplies last—that is if they do not already own these films individually or as part of The Masterpiece Collection. The two new DVDs might not be worth an upgrade (especially since they weren’t given a new 1080P transfer for this release).

Review by: Devon Powell

Book Review: Partners in Suspense

Book Cover

Publisher: Manchester University Press

Release Date: January 18, 2017

“This book brings together new work and new perspectives on the relationship between Hitchcock and Herrmann. Featuring chapters by leading scholars of Hitchcock’s work, the volume examines the working relationship between the two and the contribution that Herrmann’s work brings to Hitchcock’s idiom, as well as expanding our understanding of how music fits into that body of work. The goal of these analyses is to explore approaches to sound, music, collaborative authorship, and the distinctive contribution that Herrmann brought to Hitchcock’s films. Consequently, the book examines these key works, with particular focus on what Elisabeth Weis called ‘the extra-subjective films’—Vertigo (1958), Psycho (1960), The Birds (1963)—and explores Herrmann’s palpable role in shaping the sonic and musical landscape of Hitchcock’s work, which, the volume argues, has a considerable transformative effect on how we understand Hitchcock’s authorship.

The collection examines the significance, meanings, histories, and enduring legacies of one of film history’s most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the chapters [or essays] in the collection examine the ways in which film directors and composers collaborate, and how this collaboration is experienced in the films themselves. In addition, the collection addresses the continued hierarchization of vision over sound in the conceptualization of cinema and readdresses this balance though the exploration of the work of these two significant figures and their work together during the 1950sand 1960s” K.J. Donnelly and Steven Rawle (Introduction, Partners in Suspense, January 18, 2017)

As this excerpt from the book’s introduction suggests, “Partners in Suspense” is a collection of fourteen scholarly articles about the creative marriage of Bernard Herrmann and Alfred Hitchcock. Although their working relationship would eventually end in divorce, their collaboration lasted over a decade and gave audiences eight films (some of which are considered to be amongst the best ever made). This is a subject that has too often been overlooked, and a book on the subject is long overdue.

The essays included cover a range of subjects with varying degrees of success. A list of the titles should help one determine the subjects discussed in its pages:

Bernard Herrmann: Hitchcock’s Secret Sharer – by: Jack Sullivan

Hitchcock, Music and the Mathematics of Editing – by: Charles Barr

The Anatomy of Aural Suspense in Rope and Vertigo – by: Kevin Clifton

The Therapeutic Power of Music in Hitchcock’s Films – by: Sidney Gottlieb

A Lacanian Take on Herrmann/Hitchcock – by: Royal S. Brown

Portentous Arrangements: Bernard Herrmann and The Man Who Knew Too Much – by: Murray Pomerance

On the Road with Hitchcock and Herrmann: Sound, Music, and the Car Journey in Vertigo (1958) and Psycho (1960) – by: Pasquale Iannone

A Dance to the Music of Herrmann: A Figurative Dance Suite – by: David Cooper

The Sound of The Birds – by: Richard Allen

Musical Romanticism v. The Sexual Aberrations of the Criminal Female: Marnie (1964) – by: K. J. Donnelly

The Murder of Gromek: Theme and Variations – by: Tomas Williams

Mending the Torn Curtain: A Rejected Score’s Place in a Discography – by: Gergely Hubai

The Herrmann-Hitchcock Murder Mysteries: Post-Mortem – by: William H. Rosar

How Could You Possibly be a Hitchcocko-Herrmannian? (Digitally Re-Narrativising Collaborative Authorship) – by: Steven Rawle

Perhaps the most immediate surprise when considering the topics discussed in this collection is the lack of information and analysis about Herrmann’s first collaboration with Hitchcock (The Trouble with Harry). It would seem that their first collaboration would be of special interest, and the book does provide some general information about Lyn Murray’s initial suggestion that the director work with Herrmann (including excerpts from Murray’s personal journal), but the score for The Trouble with Harry is largely ignored. What’s more, the book neglects Herrmann’s wonderful score for the The Wrong Man—which is one of their most interesting collaborations.

Those looking for a biographical account of the Hitchcock/Herrmann relationship will likely be disappointed. What these pages offer is scholarly examination of Herrmann’s music and how his scores affect the finished film. Anecdotal information is only given as a means to contextualize the theoretical analysis or to provide support to the arguments being made. The result is useful (especially to other scholars), but average cinephiles will be less enthusiastic—especially if they do not already have a rudimentary knowledge of music.

Review by: Devon Powell

Offbeat Blu-ray Review: Psycho IV: The Beginning

Blu-ray Cover.jpg

Distributor: Shout Factory

Release Date: August 23, 2016

Region: Region A

Length: 96 min

Video: 1080P (MPEG-4, AVC)

Main Audio: 2.0 English DTS-HD Master Audio

Subtitles: English

Ratio: 1.78:1

Notes: This title is available in various DVD editions of the film from Universal Pictures.

Title

“It was a great burden of responsibility to carry on the tale first told by one of cinema’s greatest artists, and I was a very young filmmaker, in age as well as in experience, who had a lot to prove.  I was more worried about not f**king it up than anything else.” –Mick Garris (Fangoria, March 10, 2015)

Perhaps the mysteries of Norman’s past should remain a mystery. One has to wonder what Alfred Hitchcock would have thought about the three Psycho sequels. The world will never have a definitive answer to this question, but it can be said with some authority that his writing collaborator on Psycho, Joseph Stefano, was never terribly fond of the first two sequels.

Those films changed Norman from a sensitive and pitiful – if not sympathetic – villain into a laughable figure… Psycho II and III say, in effect, there’s no way to survive with a psychological problem. If you’ve got it, the law can keep you locked up because there’s no chance for cure. I thought, ‘Vile!’ I don’t think l need that message. It’s just not true.”Joseph Stefano (as told to Steve Biodrowski, Cinefantastique, 1990)

Stefano’s disdain for Psycho’s first two sequels might come as a surprise to anyone who remembers that the screenwriter provided the screenplay for Psycho IV: The Beginning. It becomes all the more amazing when one considers that the film was made for television (originally airing on Showtime on November 10, 1990). To say that the film wasn’t a prestige project would be an understatement. After the critical and box-office failure of Psycho III, it is surprising that Universal even bothered with the film at all.

30 years earlier, while Alfred Hitchcock and Joseph Stephano were preparing the screenplay for Psycho, they would often discuss Norman’s backstory. The two men threw around a number of possibilities as to what might have happened in that old Victorian house, and these conversations formed the impetus for the Psycho IV screenplay.

“Hitch was interested in what I had to offer, like one of my background ideas for Norman’s upbringing. I imagined a scene—which people will recognize from Psycho IV –where Norman is horsing around with his mother. When she notices he has an erection, she becomes rabid. To teach him once and for all that’s he’s not supposed to do that, she forces him to put on a dress, smears lipstick on his face, and locks him in a closet. The incident had no place in Psycho, but I told Hitch anyway, and he was fascinated—very curious about things of that nature, Freudian psychological backgrounds.”Joseph Stefano (as told to Steve Biodrowski, Cinefantastique, 1990)

Erection Scene

The accidental erection scene in Psycho IV: The Beginning: Henry Thomas and Olivia Hussey portray Norman and Norma Bates.

The third sequel was meant to represent a tonal change for the series. The previous sequels could be described as “over the top,” and everyone involved wanted the film’s prequel to have a more sober tone.

“In the run of the making of the film sequels, it seemed that the treatment of Norman, after all the years of his iconography and being spoofed and satirized, it seemed that there was a tendency to lean towards ‘camp’ in portraying him in the sequels, and I wanted to bring that down, and give him the complexity and danger that his character possessed in Hitchcock’s original.” –Mick Garris (Fangoria, March 10, 2015)

It is arguable as to whether Garris succeeded in his efforts to tone down the camp elements that featured in the previous sequels, but it seems that Joseph Stephano had similar notions while writing the script. He even went out of his way to avoid mentioning the events that occurred in the two previous sequels in any real detail.

“Gearing up for Psycho IV, I decided to ignore the two sequels – like the business in II about Norman’s mother. Instead, I based my script on background material I’d had in my mind for over 30 years—information that couldn’t be in the original without giving the ending away. I wrote five drafts, making changes because of time and budget constraints. Thanks to the director, Mick Garris, my vision was on screen almost intact.

In Psycho IV, the time is five years after III, and Norman is out of the hospital. He’s a married man, and he’s finally learned how to love somebody and have natural sex without killing his lover. But when Norman’s wife becomes pregnant, there’s a crisis. His fear that his illness will be passed on to a new generation prompts him to call into a radio talk show focusing on matricide. As the film progresses, he resorts to the only neurosis that ever worked for him.

The question might be asked why, if Norman is cured, does he revert back to his old ways? I think he explains when he says, ‘I’m cured, as I’ll ever be, but I’m still me.’ No matter how cured we are of certain psychoses, we revert when the chips are down. The film couldn’t just be about Norman getting cured. It had to be about that cure coming undone…

…So far, audience reaction has been good, and I’m pleased. With the exception of Variety, which called the movie ‘Psycho-babble,’ the reviews have also been strong. Norman Bates has a crisis, but the resolution leaves everyone glowing – which is not the reaction you’d expect after seeing a Psycho movie.

People may be surprised at the ending I chose, but if you’ve done your homework, I think it will seem natural. Any other way would have been preposterous – just one more dreadful Psycho sequel. It will end as life would have it end.”Joseph Stefano (as told to Steve Biodrowski, Cinefantastique, 1990)

Stephano seemed satisfied with the finished product, but it must be said that Variety wasn’t the film’s only critic. Many people disliked that the film ignored the two previous sequels and considered these omissions glitches in the series’ continuity. This could easily be argued either way. However, it must be said that the two previous films were subtly alluded to in the film’s dialogue: “After the last murder four years ago—umm—murders, plural…

Some might question whether it is feasible that Norman Bates could be rehabilitated in four or five short years, but one might evade such logistical speedbumps by telling themselves that he was released under his wife’s care—especially considering the fact that she is a psychiatrist. That Norman’s aunt, Emma Spool, isn’t mentioned doesn’t represent any real glitch in continuity. After all, she was absent during Norman’s formative years. There might be an issue with the death of Norman’s father—unless the bee stings said to have killed him were caused by Spool. It is too bad that these stings were shown on the corpse, because the bee sting story could have also been a subterfuge meant to keep an unsettling and violent reality from affecting the very young Norman. One does wish to give a film the benefit of the doubt. Then again, all of this is probably an exercise in futility, because one could simply choose to experience the film as a direct sequel to Psycho. Alternative timelines are actually rather common among horror sequels.

Anthony Perkins as Norman Bates

“All you really have to know is that Norman once again got hauled off to the rubber Ramada and, as he says, he wanted to be either executed or locked away forever so that he would never hurt anybody again, because Norman is, at heart, a benevolent soul with a dark side. But Norman’s conscious mind is always on the positive things in life. So once again he’s in and once again he’s out.” -Anthony Perkins (The Washington Post, November 04, 1990)

There are other problematic elements in Joseph Stephano’s script that are much more unfortunate, because they could very well alter one’s understanding of Hitchcock’s original film. The first issue concerns the nature of Norma Bates. Stephano has written her as a one-dimensional monster, and this becomes the film’s fatal flaw. It is true that we see fleeting moments of kindness, but these seem to be quite few in number. This represents a missed opportunity, because one wishes for a more dynamic and multilayered personality than what we see here. Norma’s character seems to be more complex and interesting as portrayed by Vera Farmiga in Bates Motel. (Although, this series comes with a list of its own issues.) It is wrong to assume that Norman’s projection of a shrewish personality upon his mother is an accurate reflection of her character. This shrewishness was more likely born out of his own anger towards himself and the insane jealousy that he felt. Frankly, it is surprising to find that Stephano didn’t recognize this.

The other problem concerns the actions of Connie Bates (Donna Mitchell). Why would an established psychiatrist risk Norman’s mental health—and her own safety—by actively trying to conceive a child without his knowledge? It is established that she knew the extent of Norman’s anxieties about the issue, and she should know that betraying his trust could do irrefutable damage. One will admit that Connie isn’t one of the more developed characters in his screenplay, but it is clear that her character isn’t supposed to be a devious personality. This part of the film seems forced and underdeveloped, and the blame rests largely on Stephano’s shoulders.

Luckily, the script issues are overshadowed by a very powerful character named Norman Bates. It is incredibly difficult not to be drawn into this unusual but sympathetic character’s universe. What’s more, Mick Garris enhances our experience of this unique universe with a number of interesting stylistic choices.

“I wanted the colors to be highly saturated, to set up an immediate contrast to the Hitchcock original.  I wanted to set it apart right up front, without dismissing the connection with the characters, the house, the motel, and all of the iconic imagery that we wanted to emphasize… It was important that the radio station be very contained, almost claustrophobic and modern, with the blue light emphasizing the technological world of today.  Norman’s home was warmer, with a glow of nostalgia.  But there would be shocking intrusions of red, as when Norman cuts himself and bleeds into the sink. In the flashbacks especially, I wanted the colors to be heightened, almost a historical Technicolor richness to it, as I feel our memories are more colorful than reality.

There also needed to be a real sense of visual exaggeration.  And I wanted to place Norman into his own flashbacks at his own age at the time and as he was as he relived them, to place the modern Norman into his own memories.  That was a lot of fun. I just really wanted to give the language of cinema a real workout, which is not easy when it was shot in 24 days for television.” –Mick Garris (Fangoria, March 10, 2015)

While his direction is never as accomplished as Alfred Hitchcock’s, Garris does manage to create interest (even if suspense is lacking). It is also nice to see that he brought an element back to the film that was sorely missed in the two previous sequels.

“I didn’t know why no one had used one of the greatest scores ever in the preceding two sequels with the unbelievable Bernard Herrmann score for Psycho, which he described as black and white music because there was no horns and percussion, just strings. So, we actually orchestrated that music.” –Mick Garris (Trailers from Hell, 2013)

These Bernard Herrmann themes elevate the film and give it a vitality that surpasses one’s expectations—as long as those expectations are reasonable. Psycho IV: The Beginning isn’t much more than an interesting footnote about the legacy of Alfred Hitchcock’s enduring classic. It contains a number of strong performances, and there are many good ideas scattered throughout the film. Unfortunately, these ideas never seem to congeal, and the end result feels like a missed opportunity. Alfred Hitchcock’s influence upon Joseph Stephano’s screenplay for the original Psycho was paramount, and his absence here is sorely felt.

SS1

The Presentation:

4 of 5 MacGuffins

The disc is protected in a standard Blu-ray case with a slightly altered version of the same one sheet artwork has been used since the film’s original broadcast.

The menu also utilizes this artwork and is accompanied by an iconic Bernard Herrmann theme that we all know and love. The overall result isn’t particularly special, but it is a reasonably attractive presentation.

SS2

Picture Quality:

4 of 5 MacGuffins

It is surprising to find that Shout Factory’s transfer of Psycho IV: The Beginning exhibits a reasonably high level of detail. One can see textures and facial pores, and clarity is also nicely rendered. Television films rarely look this good (even in high definition). Black levels are accurate and do not crush important details that hide in the darker recesses of the screen. One doesn’t wish to say that colors are natural here, but they do seem to be accurately represented. The lighting design is rather dramatic to say the least. It is nice to see them vividly represented here. Skin tones certainly look natural when they are lit naturally. There is a healthy layer of film grain to help the viewer forget the film’s television origins, and it is nice to see that it hasn’t been scrubbed clean. Nothing in the way of noise or digital artifacts seem to distract from what looks like a very solid transfer. It never approaches perfection, but this particular title isn’t likely to see a better 1080p transfer.

It should also be mentioned that the film was composed for widescreen, because it would receive a very limited theatrical release after its initial Showtime broadcast. Mick Garris states in the included commentary that he is happy to see that the film is presented in the widescreen format on this disc, so purists do not need to protest the 1.78:1 aspect ratio. This release serves as a bridge between its 1.33:1 television format and the 1.85:1 theatrical format.

SS3

Sound Quality:

4 of 5 MacGuffins

To be honest, this is a rather remarkable 2.0 stereo sound mix. It isn’t likely to give one’s speakers a workout, but it is clearly rendered and well balanced. The film’s iconic music is impressively mixed, and dialogue is always clean and clearly audible. The track has more life than anyone has any right to expect.

SS4

Special Features:

3.5 of 5 MacGuffins

Feature Length Audio Commentary featuring Mick Garris (Director), Henry Thomas (Actor), and Olivia Hussey (Actor)

This informal track finds Mick Garris leading a conversation about the film’s production with Henry Thomas and Olivia Hussey. The resulting track is surprisingly engaging if not ultimately enlightening. There aren’t any memorable dead spots in their discussion to interrupt the flow of information. Fans of the film should be thrilled to have this included on the disc.

Rare Behind-the-Scenes Footage – (HD) – (13:15)

This rare VHS footage from Mick Garris gives viewers a rare glimpse behind the scenes as the cast and crew work on some of the scenes that take place at the radio station. The footage was taken on the first day of the shoot. One of the more interesting aspects of the footage concerns a brief excerpt of dialogue that alludes to Emma Spool and the events of Psycho II and III. Joseph Stephano always claimed that he chose to ignore these events, so this raises questions as to whether this bit of dialogue was added to the script by someone else.

The Making of Mother: An Interview with Tony Gardner – (HD) – (27:41)

Tony Gardner (makeup effects artist)  isn’t the most articulate speaker, but his memories about his love for Alfred Hitchcock’s original film and his work as an effects artist for Psycho IV are interesting enough. He covers quite a bit of territory considering the limited scope of his experience. Fans of the film will certainly find the interview interesting.

A Look at the Scoring of Psycho IV – (HD) – (06:12)

This vintage VHS footage was taken during the film’s scoring sessions and is ultimately a rather anemic look at this aspect of filmmaking. It is vaguely interesting but less engaging than the on-set footage. Those interested in film scoring might gravitate towards this short glimpse at the scoring sessions, but they will be more likely to remember some of the other features.

Photo Gallery – (HD) – (06:06)

This collection of rare photos from Mick Garris is reasonably interesting but not particularly spectacular.

SS5.jpg

Final Words:

Shout Factory has given Psycho IV: The Beginning a solid Blu-ray release. It isn’t one of their strongest Blu-ray transfers, but it is probably the best that this title is likely to receive.

Review by: Devon Powell

SS6

 Source Material:

Steve Biodrowski (Interview: Psycho Screenwriter Joseph Stefano, Cinefantastique, 1990)

Michael E. Hill (Psycho IV: Tony Perkins Takes Norman Back to the Beginning, The Washington Post, November 04, 1990)

Mick Garris (Trailers from Hell, 2013)

Lee Gambin (Q&A: Horror Maestro Mick Garris Revisits “Psycho IV: The Beginning, Fangoria, March 10, 2015)

Offbeat Blu-ray Review: Homicidal & Mr. Sardonicus

Blu-ray Cover 1

Distributor: Mill Creek Entertainment

 Release Date: July 19, 2016

 Region: Region A

Length:

88 min (Homicidal)

90 min (Mr. Sardonicus)

Video: 1080P (MPEG-4, AVC)

Main Audio: English 2.0 Dolby Digital (448kbps)

Subtitles: None

Ratio:

1.85:1 (Homicidal)

1.78:1 (Mr. Sardonicus)

Notes: This is the high definition debut of “Homicidal,” but “Mr. Sardonicus” previously received a Blu-ray release as part of another “double feature” release from Mill Creek Entertainment in North America. Both titles are available in various DVD editions.

HitchHead

William Castle’s on-screen introductions to his films might bring to mind those witty opening and closing monologues that bookended Alfred Hitchcock’s television shows. His appearances in the promotional trailers for his films might even bring to mind Hitchcock’s amusing theatrical trailers. However, there are major differences between Hitchcock’s understated approach and William Castles overstated approach to these appearances. It seems that Castle just couldn’t quite get inside Hitchcock’s head!

The Master of Suspense Vs. The Master of Schlock

“…Then I did the money-back guarantee for 1961’s Homicidal. That broke into Life, Time, and all the magazines. I had remembered Hitchcock and Psycho (1960), with its ‘nobody seated after the picture starts’ rule. I thought I could out-Hitchcock Hitchcock with this thing. So, I said, ‘I’ll give them their money back in the last minute of the picture, if anyone is too frightened to stay in the theatre.” -William Castle (October 24, 1973)

William Castle’s efforts to “out-Hitchcock Hitchcock” is evident not only in the marketing of Homicidal, but also in the film’s plot and structure. It was an obvious attempt at capitalizing on the success of Psycho. This becomes rather interesting when one considers that Alfred Hitchcock was inspired to make Psycho after noticing that William Castle (and others like him) were making a good deal of money with their cheaply produced horror films. Hitchcock couldn’t help but wonder what might happen if such a film was skillfully made by a more talented director (such as himself). It would give him an opportunity to experiment while appealing to a new generation of moviegoers. The resulting film was so successful that it resulted in a string of imitations, and it seems fitting that Castle would be one of the first filmmakers to make such an effort.

Comparison 0

Comparison 1 Comparison 3

Unfortunately, William Castle seems to have misunderstood the entire purpose behind Alfred Hitchcock’s brilliant marketing campaign. Hitchcock’s approach was born out of an effort to ensure that audiences weren’t distracted by the absence of Janet Leigh (the film’s biggest star) if they happened to come in late. His gimmick ensured that audiences would never become distracted while simultaneously bringing audiences into the theaters in droves.

The opposite is true of William Castle’s gimmicks, which were often distracting to viewers and sometimes interrupted the natural flow of his films. His gimmick for Homicidal is a perfect example of this. At a key moment in the film, the film is stopped as a timer appears on the screen along with Castle’s voice:

“This is the fright break! You hear that sound? It’s the sound of a heartbeat… a frightened, terrified heart. Is it beating faster than your heart or slower? This heart is going to beat for another 25 seconds to allow anyone to leave this theater who is too frightened to see the end of the picture… Ten seconds more and we go into the house. It’s now or never! Five… Four… You’re a brave audience! Two… One.” –William Castle (Interruption at the end of Homicidal)

Fright Break Refund Ticket

This is a “Fright Break” Refund Ticket.

Fright Break

These are screenshots from William Castle’s “Fright Break.” Castle made the “cowards” wait for the film to end in a yellow booth called “coward’s corner” before being allowed to receive a refund.

It seems absurd in retrospect that Time magazine should criticize the shower scene in Psycho, calling it “one of the messiest, most nauseating murders ever filmed,” only to include Castle’s ham-handed replica in their top ten list. However, none of this should lead one to believe that Homicidal is a complete disaster. It is merely a missed opportunity.  The film’s first sequence is quite promising and genre fans should certainly enjoy the campy murders. The fact that the ending of the film is unbelievably predictable isn’t even an issue, because the viewer is enjoying the ride (at least until the ridiculous fright break catapults them back to reality at the worst possible moment).

PSYCHO

Alfred Hitchcock’s marketing gimmick was born out of a desire to avoid audience distraction.

Actually, the gimmick for Mr. Sardonicus (which also received a 1961 release) was even more distracting. In this particular film, Castle actually appears onscreen and talks to the audience:

“That’s how the story ends, with the lovers living happily ever after. But has Mr. Sardonicus been punished enough, or don’t you agree with me that such a miserable scoundrel should be made to suffer and suffer and suffer? When you think what he did to his wife and to those girls… and about those leeches, I think ordinary punishment is too good for Mr. Sardonicus. If you feel that way too, if you want to show him no mercy and punish him as he deserves, then hold up your punishment poll ballot with the thumb pointing down like this. If, on the other hand, you’re one of those ‘I wouldn’t hurt a fly’ kind of people, one of those sweet, nice, kind, souls who would let Mr. Sardonicus go free, you should hold your ballot with the thumb pointing up like this. Now we’re ready for the voting: No mercy, or Mercy? Hold the ballots high please…” –William Castle (Interruption at the end of Mr. Sardonicus)

He then pretends to count votes before declaring “no mercy” as the winner and the film continues. It is more than obvious that there is only one ending, so this particular gimmick isn’t even a real gimmick. It is a mere distraction, and it is too bad that it comes at the end of a reasonably engaging (albeit cheesy) monster flick.

Oskar Homolka in Mr. Sardonicus

Oskar Homolka (seen here in William Castle’s Mr. Sardonicus) had appeared in Alfred Hitchcock’s SABOTAGE in 1936.

William Castle is probably known more for his gimmicks than he is for his filmmaking ability. He isn’t an incompetent director but he never approached the level of artistry achieved by Alfred Hitchcock. His films can be quite fun for those in the right mood, but don’t make the mistake of believing that anyone can “out-Hitchcock Hitchcock.” We’re looking at you, Brian De Palma.

Homicidal - One Sheet.jpg

The Presentation:

3.5 of 5 MacGuffins

The Blu-ray disc is protected in a standard Blu-ray case with attractive “double feature” artwork that features vintage one sheet poster for each film.

The menu is similar in its design and features the same one sheet art for both films.

Picture Quality:

3.5 of 5 MacGuffins

Both features are given equally fine image transfers that fall short of being great. Homicidal displays a rather thick layer of grain that adds to the filmic texture of the film without becoming uneven. Detail is rather good and showcase fabric textures and set definition quite nicely. Contrast is also quite nice and features solid black levels and shadow depth. The same can be said of Mr. Sardonicus, but it must be mentioned that the skin textures sometimes appear somewhat artificial during this particular feature.

Sound Quality:

2.5 of 5 MacGuffins

One doubts if the sound for these films was ever anything to brag about, and Mill Creek Entertainment’s sound transfers are a lifeless reflection of each film’s bargain basement roots. The largest problem that immediately comes to mind is the lack of a lossless audio transfer for both features. This issue becomes especially annoying when it is teamed with the knowledge that Mill Creek Entertainment’s previous release of Mr. Sardonicus featured a lossless audio track. It is impossible for one not to question their reasoning behind the downgrade.

The sound itself is about what one might expect from a transfer of a low budget film from the early 1960s. Both films suffer from the same audial maladies with the music and sound effects being banished to the center speakers. Clarity and range suffers somewhat throughout each film, but this isn’t particularly surprising. The dialogue is always clearly and evenly rendered, and what else can one expect from a bargain budget Blu-ray release of a bargain basement film production?

Special Features:

0 of 5 MacGuffins

There is no supplemental material included.

Mr. Sardonicus - One Sheet

Final Words:

William Castle’s gimmickry is the wart on the face of these two horror diversions. Mill Creek Entertainment’s Blu-ray transfer isn’t outstanding, but the disc does provide serviceable transfers of both films for fans to enjoy in their own living rooms.

Review by: Devon Powell

NOTE:

William Castle’s 13 Ghosts and 13 Frightened Girls has also been released on Blu-ray by Mill Creek Entertainment with comparable image and sound transfers.

Blu-ray Cover 2

Blu-ray Repackaging: Psycho & The Birds

PSYCHO - POPART

Distributor: Universal Studios

Release Date: July 12, 2016

The 50th Anniversary Edition of Psycho (1960) was one of the first reviews posted on this site. This exact same transfer is being released with the same supplemental features in this new Pop Art edition of the film.

For more a detailed review of this disc:

Blu-ray Review: Psycho – 50th Anniversary Edition

THE BIRDS - POPART

Distributor: Universal Studios

Release Date: July 12, 2016

The Birds (1963) is also being honored with a new Pop Art edition of the film that includes the same transfer with the same supplemental features available on Universal’s previous release of the film.

For more a detailed review of this disc:

Blu-ray Review: The Birds