Book Review: The Making of Hitchcock’s The Birds

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Publisher: Kamera Books

Release Date: September 1, 2013

Those who have read Tony Lee Moral’s “Hitchcock and the Making of Marnie” will not be surprised to hear that his book about the making of The Birds stands as one of the better books about the creation of a single Hitchcock film. Moral covers his subject in exhaustive detail. The book begins with the genesis of Daphne du Maurier’s short story and works its way through the film’s release. Every stage of the film’s production is given equal attention using files from the actual production that are held at the Margaret Herrick Library, archival articles and interviews, personal interviews, previously published books on the director’s work, and other sources. Moral’s work will serve both the film scholar and the casual fan in equal measure.

One is especially appreciative of Moral’s understanding that it isn’t always wise to accept everything one hears or reads. He seems to question certain stories and comments made from individuals involved with the project. He often raises questions about the validity of some of the information he presents instead of accepting it at face value simply because it would make for an interesting story (or support an agenda). Moral makes an honest attempt to present multiple perspectives in a manner that leaves the conclusions up in the air for the reader to sort out. This is a very responsible approach to scholarship, and one cannot say this about a lot of texts that focus on Hitchcock.

Review by: Devon Powell

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Blu-ray Repackaging: Psycho

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The 50th Anniversary Edition of Psycho (1960) was one of the first reviews posted on this site. The exact same disc has recently been re-released with the same transfer, supplements, and artwork (minus the 50th Anniversary label). The only difference between the two releases is that the more recent edition comes with an Ultraviolet copy of the film.

Steelbook Cover

There is also a Limited Steelbook Edition of Psycho. This release contains the same transfer and supplements as the previous discs, but will be presented in a steelbook case with new artwork.

Steelbook Back Cover

For more a detailed review on all three releases:

Blu-ray Review: Psycho – 50th Anniversary Edition.

Offbeat Blu-ray Review: Gone With the Wind – 75th Anniversary Edition


Gone With the Wind – 75th Anniversary Edition

Distributor: Warner Bros.

Release Date: September 30, 2014

Region: Region A

Length: 3:53:14

Video: 1080P (VC-1 Video)

Main Audio: English Dolby TrueHD Audio (48 kHz, 16-bit)

English Dolby Digital Mono

Alternate Audio:

French 5.1 Dolby Digital Spanish 5.1 Dolby Digital Spanish Dolby Digital Mono German 5.1 Dolby Digital Italian 5.1 Dolby Digital Japanese Dolby Digital Mono Portuguese Dolby Digital Mono

Subtitles: English SDH, French, Spanish, Portuguese, Japanese, German, Danish, Dutch, Finnish, Italian, Norwegian, Swedish

Ratio: 1.37:1

Bitrate: 23 Mbps

Notes: This title comes with a digital Ultraviolet copy of the film.

This has been given a number of Blu-ray releases. Each of these releases is different in various ways. This edition contains all of the supplements that were included with the 70th Anniversary Edition (with the exception of the CD of Max Steiner’s Gone with the Wind score), along with a brand new Blu-ray disc that features two new featurettes. The memorabilia included in this set is also different than that included in the 70th Anniversary Edition.

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“I recognize, perhaps even more than you, the problem with leangth. I am prepared for a picture that will be extremely long in any case…” -David O. Selznick (Memo to Sidney Howard)

When Alfred Hitchcock arrived in Hollywood to make films with David O. Selznick in 1939, his employer was in the middle of another major production. That production would become one of the most beloved films of all time.

Gone with the Wind is the quintessential Hollywood epic, and remains history’s all-time domestic box-office champion ($1.6 billion – if adjusted for inflation), with more tickets sold than any other movie ever made. It is David O. Selznick’s magnum opus, despite the producer’s attempts to surpass the success of the film.

The production was originally helmed by George Cukor, but Selznick replaced the director with Victor Fleming shortly after the film began production. Despite a somewhat troubled production, the film was a hit with audiences and critics alike. It captured 10 Academy Awards® including Best Picture, Best Director, Best Screenplay, Best Actress, and Best Supporting Actress for Hattie McDaniel (the first Oscar awarded to an African-American actor), Best Original Score, Best Art Direction, Best Color Cinematography, and Best Editing.

Despite evolving tastes (and heightened awareness of the troublesome sociopolitical elements in the film), Gone with the Wind remains one of the most well loved and influential films from the early studio system. The film is embedded firmly into our culture, and will likely remain there for many years to come.

To commemorate the 75th anniversary of Gone with the Wind, Warner Brothers has released a collectable package that should delight fans of the film.

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The Presentation:

5 of 5 MacGuffins

Insert for the back of the package.

This beautiful Collector’s Set is housed in a numbered box (11″ x 8″ by 2 1/4″) with attractive film related artwork. Along with the 4-disc Blu-ray/DVD set (which is housed in the standard Blu-ray casing), fans are provided with a replica of Rhett Butler’s Monogrammed Handkerchief (which bears the initial RB), and a Music Box paperweight playing Tara’s theme with an image on top of the Rhett-Scarlett kiss.

Also included is a 36-page Companion Booklet entitled Forever Scarlett: The Immortal Style of Gone with the Wind. The book features an essay written by New York fashion designer (and Project Runway finalist) Austin Scarlett, and is illustrated with beautiful photos from the film.

The discs all have uniform static menus that are adorned with an attractive film related image.

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Picture Quality:

4.5 of 5 MacGuffins

Warner Brothers often impresses with their excellent restorations and image transfers. Gone with the Wind is no exception. Unlike many studios, they tend to treat their back catalog of classics with the proper amount of respect and fanfare. Better yet, they offer exquisite Blu-ray releases of these titles.

While the silkscreen artwork on the disc might suggest a new transfer, the 75th Anniversary Edition contains the same transfer that was used for the film’s 70th Anniversary release. This should please fans, because the 70th Anniversary 8K restoration transfer was absolutely amazing.

This VC-1 image transfer exhibits a sharpness that is very often nonexistent on films from this particular era. The film’s original 1.37:1 transfer is maintained, and showcased in all of its glory. The image contains just the right amount of grain to betray Gone with the Wind’s celluloid source, but manages to remain at an attractive level that does not distract the viewer. Colors are usually brilliant and showcase Scarlett’s many gowns with the proper majesty. Some may find skin tones to look slightly jaundiced at times, but one can probably blame the source (and it is always to a minimal degree). The mise-en-scène is given a level of detail and depth that was never seen in previous home video transfers. Compression is never a problem in the transfer (as one might expect from a film of this length). Warner Brothers should give lessons to other studios on how to properly treat catalog releases. They can use this transfer of Gone with the Wind as a visual aid.

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Sound Quality:

4.5 of 5 MacGuffins

This 75th Anniversary disc offers the film’s Original Mono soundtrack, as well as a 5.1 Mix in TrueHD. This should pacify the purists while also pleasing those who prefer the more dynamic mixes of recent films. To be honest, the 5.1 mix is rather modest. It probably wouldn’t aggravate purists as much as they might initially believe. Dialogue remains in the center channels and is consistently clear and clean. Surround channels add just the right amount of subtle depth during the films more epic moments. The hiss that washes over the film’s original Mono track is absent here. Better yet, the digital clean up didn’t noticeably disturb high end sounds. During moments where musical orchestration takes over, it can sound the slightest bit boxy (as it would in a mono mix). This is forgivable, because one cannot improve on the source elements. This is the best that the film has ever sounded on home video.

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Special Features:

5 of 5 MacGuffins

This 75th Anniversary Edition might very well surpass the previous 70th Anniversary Edition release as far as supplementary material is concerned. In addition to the supplements included on the 70th Anniversary discs, fans are given a brand new disc of interesting extras.

DISC 1 (The Movie):

Commentary by Historian Rudy Behlmer

Thankfully, most of the supplements were reserved for the additional discs.

However, fans are given a Commentary track with Rudy Behlmer that surpasses ones expectations. Behlmer gives an extremely accessible lesson to viewers about the film’s production that never becomes overly dry or scholarly. The track should also please people interested in the differences between Margaret Mitchell’s source novel and film version. One might be hesitant to sit through a commentary track for a film that is nearly four hours in length, but those brave enough to do so will be richly rewarded.

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DISC 2 (Special Features):

The Making of a Legend: Gone With the Wind – (SD) – (2:03:36)

This feature-length documentary was produced in 1988 by Daniel Selznick, L. Jeffrey Selznick, and Jonathan Wickham. It is interesting to note that David O. Selznick’s sons are producers on this comprehensive documentary on their father’s most famous film. The documentary won a Peabody Award®, which seems to be extremely well deserved. It is difficult to imagine a more comprehensive glimpse into the background of this film (or any film). At over two hours in length, is much better than the usual EPK “making of” featurettes that have become the norm. Fans are given a very real glimpse into the film’s production as home movies, screen tests, and other related footage illustrate the interviews and narration provided. It is essential viewing for fans of Gone with the Wind!

Gone With the Wind: The Legend Lives On – (SD) – (33 min)

This short program focuses more on the film’s legacy than on the actual production of the film. It discusses the film’s profitable re-issues to theatres, the growing fan base, and the many collectors who have much more than a casual love for the film. It is always interesting, and works as a companion piece to The Making of a Legend: Gone With the Wind.

Melanie Remembers: Reflections by Olivia de Havilland – (SD) – (38:43)

Olivia de Havilland turns out to be an extremely articulate storyteller. Here she takes viewers into a detailed account of her experiences shooting Gone with the Wind. It is certainly one of the many highlights on this disc, and shouldn’t be overlooked.

1939: Hollywood’s Greatest Year – (SD) – (1:08:20)

Many people consider 1939 to be the most outstanding year for the motion picture industry. Kenneth Branagh narrates this documentary that looks at some of the wonderful films to come out of Hollywood during these twelve months. The program is organized by studio, and gives us just enough contextual information for viewers to absorb the information in a useful manner.

Gable: The King Remembered – (SD) – (1:05:03)

Peter Lawford hosts this documentary on Clark Gable. It is slightly more comprehensive than one might expect, and is extremely interesting. Fans of the actor should be thrilled to have it included. It is really quite interesting.

Vivien Leigh: Scarlett and Beyond – (SD) – (46:05)

It is nice to see a program about Vivien Leigh included on this disc. Not only was the actress a major part of the film’s success, but she was also an incredibly interesting personality. Jessica Lange hosts this look into Leigh’s career. It is always engaging, but fans might wish for a more detailed and comprehensive account of her life. While we are given a relatively comprehensive account of her stage and screen work, her personal life is discussed as a mere subplot. Her illnesses are covered in enough depth to be interesting, but viewers are likely to yearn for more a more comprehensive look into these issues.

Movieola: The Scarlett O’Hara Wars – (SD) – (1:37:47)

The Scarlett O'Hara War2Moviola was a 3-part miniseries for NBC that aired in 1980. It was based on a book by Garson Kanin. The three parts were all quite different, and were titled The Silent Lovers, This Year’s Blonde, and The Scarlett O’Hara Wars. Each of the three episodes stands alone, and each has been shown as separate made-for-television movies. The Scarlett O’Hara Wars was the most popular of the three films, and is included here for fans of Gone with the Wind to enjoy. The story is about the infamous search for Scarlett O’Hara, and features Tony Curtis as David O. Selznick.

This telefilm certainly doesn’t replace the other features on this disc when it comes to actual information. However, fans of Gone with the Wind should at the very least enjoy it as a curiosity.

The Supporting Players – (SD) – (30 min)

Fans are given short video profiles of various actors that played supporting roles in the film. Each profile is approximately two to four minutes in length. While each profile is interesting, none are comprehensive. However, these little snippets do give viewers an appreciation for the film’s secondary cast members. It is nice to see that these wonderful performers weren’t forgotten.

The disc divides these profiles into categories (and sometimes subcategories):

At Tara:

The O’Hara Plantation in Georgia: Short profiles on Thomas Mitchell and Barbara O’Neill

Their Daughters: Short profiles on Evelyn Keyes and Ann Rutherford

The House Servants: Short profiles on Hattie McDaniel, Oscar Polk, and Butterfly McQueen

At Twelve Oaks:

Short profiles on Leslie Howard, Rand Brooks, and Carroll Nye

In Atlanta:

Short profiles on Laura Hope Crews, Eddie Anderson, Harry Davenport, Jane Darwell, Ona Munson, and Cammie King

Newsreel: Dixie Hails Gone With the Wind – (SD) – (4 min)

It is nice to see that a vintage newsreel is included that covers Gone with the Wind’s premiere in Atlanta, Georgia. Fans will thoroughly enjoy seeing all of the footage contained in this interesting newsreel.

Newsreel: Atlanta Civil War Centennial – (SD) – (4 min)

In 1961 there was a Re-issue of Gone with the Wind to commemorate the anniversary of the Civil War. This re-release saw a second premiere in Atlanta. Vivien Leigh, Olivia de Havilland, and David O. Selznick attended the premiere and were captured in this newsreel covering the event. This particular reel is mostly silent, but remains interesting.

Restoring a Legend – (SD) – (18 min)

This featurette focuses on the UltraResolution restoration given to Gone with the Wind for its 2004 DVD release. It is included here because the UltraResolution process informs restoration procedures today. It is interesting to see how much effort goes into a restoration. . International Prologue – (SD) – (1 min)

While those who lived in the United States were aware of the basics of Civil War history, those in other countries were less knowledgeable about these things. To remedy this, a prologue was added to the release prints for foreign release. This prologue is included here for fans. It is interesting to see this included here.

The Old South – (SD) – (11 min)

This short was directed by Fred Zinnemann and released by MGM. A short introduction explains that it was produced to provide a cultural background for viewers of Gone with the Wind in foreign territories. It also warns that some of the scenes are racially insensitive. That might be the understatement of the century. However, this only adds to the interest of this short documentary on ‘The Old South.’ The film probably provides an accurate representation of the small minded attitudes of the era.

Foreign Language Versions – (SD) – (3 min)

After a short introduction, fans are provided with a few clips from the Foreign Language dubs of Gone with the Wind.

Trailer Gallery:

Original Theatrical Trailer (1939)

Civil War Centennial Trailer (1961)

70mm Reissue Trailer (1967)

Reissue Trailer (1969)

50th Anniversary Trailer

Warner Brothers has provided fans with short introductions that provide each of these trailers with contextual information so that we know exactly what we are watching.

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DISC 3 (75th Anniversary Special Features):

Old South/New South – (1080P) – (26:50)

This featurette is a light-weight discussion by various “authorities” on the south. It discusses the somewhat naïve presentation of the south in Gone with the Wind, and compares the film’s depiction of slavery with the harsh realities of slavery. It discusses the civil war, and balances a quiet respect of southern culture with a practical criticism of the darker underbelly behind the culture. This never really penetrates the surface of the topic, but does manage to raise a lot of essential questions in the viewer.

The trouble is that the featurette digresses into a discussion of the effects of Hurricane Katrina on New Orleans culture. While one understands why Katrina was mentioned, it seems to linger in this territory for much too long. It never quite meshes with the first half of the program.

Gone With the Wind: Hollywood Comes to Atlanta – (1080P) – (12:38)

This reviewer’s favorite of the two new featurettes is this raw footage from the Atlanta premiere. Much of this footage seems to have been prepared for the popular newsreels of the era. The footage is accompanied throughout with the film’s score. Much of the footage is silent, but some of these clips come with a soundtrack.

This is an interesting look at the sort of ballyhoo that Hollywood was once so very good at.

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DISC 4 (Mini-Series DVD):

When the Lion Roars – (SD) – (366 min)

WHEN THE LION ROARSThis documentary mini-series aired on TNT over the span of three nights in 1992. Turner Broadcasting’s production surprisingly rises above the typical glitzy promotional approach that one might expect from such a production. Of course, Patrick Stewart’s narration is sometimes corny, and often naive. (Who can honestly prefer a time when stars were committed to slavish contracts that gave them very little say in their careers?) That said; the nostalgic atmosphere is probably appropriate for a documentary that documents the rise and fall of one of Hollywood’s most sensational studios.

The program is broken up into three segments, all running a little over two hours each, making the complete over 6 hours long!

The Lions Roar:

This first episode of the mini-series discusses the earliest days of MGM and covers the history of Louis B. Mayer, MGM’s origins, the studios earliest silent successes, Louis B. Mayer’s appointing Irving Thalberg as head of production at MGM, Thalberg’s success at MGM, the studios early stars, the rise of the talkies, and works its way to Thalberg’s 1936 death.

The Lion Reigns Supreme:

This second episode follows MGM’s next 10 years and features information on David O. Selznick’s success at the studio, Mayer as studio father (or tyrant), the next generation of MGM stars, various MGM craftsmen, various film series of the era, and the incredibly dark (but extremely successful) war years.

The Lion in the Winter:

This third episode discusses the studio’s downfall. The meat of the film begins in 1948, when the studio struggles through two successive years of financial decline. It then moves forward to discuss the introduction of Dory Schary as the studio’s head of production. Mayer finds that he differs from Schary (both politically and artistically), but Schary enjoys a number of successes. As time moves forward; Mayer is forced out of the studio, corporate takeovers ensue, and the studio becomes little more than a memory.

The documentary is surprisingly comprehensive, and anyone that has even the remotest interest in this topic will find that their 6 hours were well spent.

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 Final Words:

This spectacular Warner Brothers release has earned an enthusiastic recommendation. If Gone with the Wind isn’t already a part of your Blu-ray collection, this 75th Anniversary Edition deserves a place of honor on your shelf.

Review by: Devon Powell

For information on the new book on the making of Gone with the Wind, follow this link:

https://hitchcockmaster.wordpress.com/2014/10/08/offbeat-book-review-the-making-of-gone-with-the-wind/

Offbeat Book Review: The Making of ‘Gone with the Wind’


The Making of ‘Gone with the Wind’

Publisher: University of Texas Press

Release Date: September 01, 2014

Cinemaphiles have grown to expect certain things from “making of” texts. They expect the book to be a comprehensive and well researched account of a film’s production. They also expect a few photos to be found hidden throughout the text of the book. If the book meets these basic criteria, the reader is usually satisfied. However, it is a rare event when a book exceeds these basic requirements. Steve Wilson’s “The Making of ‘Gone with the Wind’” is such a book.

The book's elegant visual presentation is evident from the very first page.

The book’s elegant visual presentation is evident from the very first page.

Gone With The Wind is one of the most popular movies of all time. To commemorate its seventy-fifth anniversary in 2014, “The Making of ‘Gone With The Wind’” presents more than 600 items from the archives of David O. Selznick (the film’s producer) and his business partner, John Hay “Jock” Whitney. These items are housed at the Harry Ransom Center at The University of Texas at Austin. Steve Wilson is the curator of the film collection at the Harry Ransom Center. These rarely seen materials (which are also being featured in a major 2014 exhibition at the Ransom Center) offer fans and film historians alike a must-have behind-the-camera view of the production of this classic.

Production drawings are only one of the items of interest that can be found in this compelling book.

Production drawings are only one of the items of interest that can be found in this compelling book.

Before a single frame of film was shot, Gone With The Wind was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the Old South during the Civil War and Reconstruction. While Clark Gable was almost everyone’s choice to play Rhett Butler, there was no clear favorite for Scarlett O’Hara. And then there was the huge challenge of turning Margaret Mitchell’s Pulitzer Prize–winning epic into a manageable screenplay and producing it at a reasonable cost. “The Making of ‘Gone with the Wind’” tells these and other surprising stories with fascinating items from the Selznick archive, including on-set photographs, storyboards, correspondence and fan mail, production records, audition footage, gowns worn by Vivien Leigh as Scarlett, and Selznick’s own notoriously detailed memos.

Production documents are often shown along with the beautiful vintage photos, and they are fascinating to read.

Production documents are often shown along with the beautiful vintage photos, and they are fascinating to read.

This reviewer has never come across a more perfect book about the creation of a film. Wilson’s book goes beyond an incredibly comprehensive text and manages to be visually spectacular. Many people would call it a “coffee table book,” but these books rarely provides the reader with such a wealth of information.

Costume and make-up tests add to the book's interest as well.

Costume and make-up tests add to the book’s interest as well.

This book is essential for fans of Gone with the Wind and film historians alike. It sets a new standard for books of its kind. One can only hope that other publications rise to these standards.

Review by: Devon Powell

Book Review: The Wrong House: The Architecture of Alfred Hitchcock

Wrong House herdruk cover ISBN9789462080966 web

Publisher: Nai010 Publishers

Release Date: April 30, 2014

“Settings, of course, come into the preliminary plan, and usually I have a fairly clear idea about them; I was an art student before I took up with films. Sometimes I even think of backgrounds first.” -Alfred Hitchcock

Having worked as a set designer in the early 1920s, Hitchcock remained intensely concerned with the art direction of his films, which feature a remarkable collection of Victorian manors, suburban dwellings, modernist villas, urban mansions, and posh penthouses. Some remarkable single-set films, such as Rope or Rear Window, explicitly deal with the way the confines of the set relate to those of the architecture on screen. In this book, Steven Jacobs discusses how Hitchcock’s cinematic spaces are connected with the narrative, the characters, and the mise-en-scène of his films.

Perhaps the best description of the book comes from Jacobs himself (in the book’s introduction).

“In the process of creating cinematic space, phenomena such as lighting, sound, editing, camera positions, and camera movements can and should be interpreted as architectonic practices. As a result, this book not only deals with production design but also the way Hitchcock creates cinematic space by means of cinematic devices.

Nonetheless, this book takes Hitchcock as an architect… Apart from discussing the achievements of art directors, production designers, and set decorators, this book links these imaginary buildings to the history and theory of architecture.” -Steven Jacobs

Those who find the concept compelling should not be disappointed. Jacobs not only utilizes expert analysis to examine the architecture in the director’s work, he also includes reconstructed floor plans, film stills, and screenshots to illustrate his points. With the wealth of Hitchcock scholarship available, it is a wonder that this book wasn’t written sooner. Architecture obviously plays a vital role in Hitchcock’s work.

Two pages from the book.

Two pages from the book.

There are a few errors in the text (such as referring to John Ferren as John Ferrer, and listing Hitchcock’s subway cameo as occurring in The Lodger instead of Blackmail.) However, these errors do not overshadow the insights that can be found in the book. Unfortunately, it isn’t likely to interest many of Hitchcock’s casual fans and seems to be targeted towards scholarly research.

Review by: Devon Powell

Book Review: The Alfred Hitchcock Story

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Publisher: Titan Books

Release Date: August 19, 2008

Ken Mogg’s coffee table book is better than similar books about the director. The title might lead one to believe that the book is another biography, but it is really a tribute to the director’s film output. There are similar books about the director available, but The Alfred Hitchcock Story stands out for a number of reasons.

The text of Mogg’s book benefits from an easy to read style, and will certainly expand the reader’s appreciation of the films discussed. Readers should also be suitably impressed with the vast amount of photographs that are included on each page. I would venture a guess that readers will find at least a few photos that they have never seen before.

The book’s structure is somewhat unusual. It is broken up into five different units (The Early Years 1899-1933, Classic British Movies 1934-1939, Hollywood 1940-1950, The Golden Years 1951-1964, and Languishing 1965-1980). Each of these units includes a four page introduction written by Dan Aulier (who wrote Vertigo: The Making of a Hitchcock Classic, and Hitchcock’s Notebooks). These introductions provide the reader with a little biographical and ‘behind the scenes’ information that place the films in a certain period of the director’s career. This context enriches Moggs chapters on the individual films (which are usually either 2 or 4 pages in length).

Articles written by various other writers are also scattered throughout the book. These include:

“Behind the Scenes Collaborators” by Philip Kemp
“Hitchcock’s Cameo Appearances” by David Barraclough
“Hitchcock and His Writers” by Steven DeRosa (who wrote Writing with Hitchcock)
“Famous Locations” by Philip Kemp
“Hitchcock on Radio” by Martin Grams Jr
“Hitchcock and Film Technique” by Philip Kemp
“The Icy Blondes” by Philip Kemp
“Alfred Hitchcock Presents” by J. Larry Kuhns
“Remakes, Sequels, and Homages” by David Barraclough
“The Short Story Anthologies” by Martin Grams Jr
“Unrealized Projects” by Dan Aulier

Most of these diversions are either two or four pages long, and all of them should interest readers. I imagine that many Hitchcock enthusiasts will likely know a lot (if not all) of the information provided by the book, and some will likely disagree with some of Mogg’s theoretical analysis. In addition, both Mogg and Kemp have a tendency to relay other people’s so-called “research” without questioning it. Let’s face it, there are a lot of myths about Alfred Hitchcock that have no basis in reality (and even more that is questionable). However, there is certainly enough here to recommend the book to Hitchcock fans. The photos alone provide an adequate excuse to add it to one’s library.

Review by: Devon Powell

Book Review: Saul Bass: A Life in Film and Design

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Publisher: Laurence King Publishing

Release Date: November 9, 2011

Saul Bass: A Life in Film & Design is the first book dedicated to one of the greatest American designers of the 20th century. Saul Bass created some of the most compelling images of American postwar visual culture. Having extended the remit of graphic design to include film titles, he went on to transform the genre. His best-known works include a series of unforgettable posters and title sequences for films such as Alfred Hitchcock’s Vertigo, North by Northwest, and Psycho. His work for other directors was equally iconic and will remain cemented in pop culture history. Bass also created many recognizable logos and corporate identity campaigns, including those for AT&T, Quaker Oats, United Airlines, Girl Scouts of America, and Minolta.

His wife and collaborator, Elaine, joined the Bass office in the late 1950s. Together they created an impressive series of award-winning short films, as well as an equally impressive series of film titles, ranging from Stanley Kubrick’s Spartacus in the early 1960s to Martin Scorsese’s Cape Fear and Casino in the 1990s.

The book was designed by Saul Bass’s daughter, Jennifer, and written by distinguished design historian, Pat Kirkham (who knew Saul Bass personally). It contains 440 pages of information and graphic art. One shouldn’t expect the book to serve as a traditional biography. Instead, it serves as a visual study of Saul Bass’s eclectic oeuvre. A lot of the contextual information is provided using extended quotes from Saul Bass and many of the people that worked with him. This gives the book an autobiographical flavor. Like an autobiography, one must be on guard for false information. Bass’s claim that he directed the shower scene in Psycho is repeated here, even though this has been proven untrue. (He drew the storyboards.) He also refers to Kim Novak’s character in Vertigo as “Julie” instead of “Judy.” I suspect that there were other issues along these lines, but none of these issues decrease the book’s enormous value. This value lies in the book’s numerous illustrations. It could have been titled “Eye Candy.” Readers are given a glimpse at a great many graphic designs, and over half of the book focuses on his film posters and title sequences. For this reason, it is nearly impossible to put down. Saul Bass: A Life in Film & Design increased both my respect and my understanding of Saul Bass’s output.

Review by: Devon Powell

Book Review: Hitchcock’s British Films

Hitchcocksbritish 2Publisher: Wayne State University Press (2nd Edition)

Release Date: October 11, 2010

In 1977 (when this book was first published), critics tended to overlook (and even discount) the films from Alfred Hitchcock’s British period. This tendency seems especially short sighted. The formative years of any creative artist deserves analysis and in-depth study. Yacowar was a single voice of reason. Hitchcock’s British Films challenged popular critical rhetoric and provided a resource for the further study of this important period in Hitchcock’s career.

This second edition has brought a pioneering text that was out of circulation for decades into the hands of scholars and film fans alike. While Yacowar’s essays are mostly concerned with theoretical analysis, there is the occasional nugget of ‘behind the scenes’ information. The text is essential because many of these films are so often neglected. For instance, Waltzes from Vienna is given its own essay. How many essays have been written about this film? Usually the film is given only a brief mention (along with Hitchcock’s quote about it being the “lowest ebb of his career”). These under-studied movies are presented as more than merely unimportant footnotes in the career of an important director. Yacowar provides a serious study of each of these films and one could recommend the book for this reason alone.

Review by: Devon Powell

 

Book Review: Scripting Hitchcock: Psycho, The Birds, and Marnie

9780252078248_lgPublisher: University of Illinois Press

Release Date: October 1, 2011

Nominated for an Edgar Allan Poe Award from the Mystery Writers of America in the category of Best Critical/Biographical, 2012.

Walter Raubicheck and Walter Srebnick’s Scripting Hitchcock explores the collaborative process between Alfred Hitchcock and the screenwriters that he chose to write the screenplays for Psycho, The Birds, and Marnie. Drawing from extensive interviews with the screenwriters and other film technicians who worked for Hitchcock, Raubicheck and Srebnick illustrate how much of the filmmaking process took place in the scripting phase of production.

One might assume that the book simply treads a path that is covered in detail by Stephen Rebello’s Alfred Hitchcock and the Making of Psycho, Tony Lee Moral’s Hitchcock and the Making of Marnie, and Moral’s follow-up The Making of Hitchcock’s The Birds. However, Scripting Hitchcock proves to have much to contribute to the study of these films. It makes an excellent companion piece to the other publications, but also stands on its own as a decisive look into Hitchcock’s relationship with his writers. It manages to educate the reader while enhancing their appreciation of the films in question. What else could anyone ask?

Review by: Devon Powell

Book Review: Hitchcock’s Ear

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Publisher: Bloomsbury Academic

Release Date: March 22, 2012

Expectation has a way of painting shadows upon a text that can easily doom the reader’s enjoyment. Certain readers might be disappointed with “Hitchcock’s Ear” if they are expecting an in-depth ‘behind the scenes’ study of Alfred Hitchcock’s incredible use of sound. This book has other agendas. David Schroeder’s analytical book is an in-depth study of the possible influence that music may have had upon Hitchcock’s film work (including mise-en-scène and montage). Instead of focusing on Hitchcock’s use of sound and music in his work, this text instead focuses on how the director’s musical influences affect his particular style. There are certainly major exceptions. One of the book’s highlights is a chapter that discusses Franz Waxman’s score for the film. The disintegration of the relationship between Bernard Herrmann and Alfred Hitchcock is also discussed at length. These chapters are both interesting and informative as they offer an alternative viewpoint about these particular topics.

Schroeder uses specific examples in exhaustive detail to illustrate his points. Because of the tireless detail presented here, the text has a great deal of value to learned scholars of Hitchcock studies, film theory, and music. However, one wonders if certain points will be made clear to individuals that do not have a basic understanding of music and music terminology (as well as a familiarity with various musical compositions). One imagines that Schroeder’s meaning will be lost on a great many people. This makes it rather difficult for a reviewer, because the book’s strengths are directly related to the weaknesses. The book’s sole weakness is that the reader’s enjoyment and understanding of the text is contingent upon his or her knowledge of the subject prior to reading the book. Even if this is an issue for certain readers, it should be said that Schroeder’s text provides an extremely new and interesting method of analyzing the “Hitchcock” film. It should provide scholars with an essential reference for future studies on the master’s oeuvre.

 Review by: Devon Powell