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ON FAITH & MEDIA View Comments

Hitchcock

By
Joseph McAleer
Source: Catholic News Service


Anthony Hopkins stars in a scene from the movie "Hitchcock."
The Greek philosopher Aristotle observed, "There is not great genius without a mixture of madness." Case in point: "Hitchcock" (Fox Searchlight), an absorbing portrait of the legendary film director during the making of his biggest success, the 1960 horror classic "Psycho."

The "Master of Suspense" gets quite a dressing-down in this adaptation of Stephen Rebello's 1990 book "Alfred Hitchcock and the Making of Psycho," directed by newcomer Sacha Gervasi. The famously corpulent director (Anthony Hopkins, unrecognizable under layers of prosthetics) was, apparently, a psychological mess—a compulsive voyeur who fantasized about his leading ladies and terrorized his staff.

Hitchcock was also, it seems, a control freak who suspected the motives of just about everyone, even his devoted wife, Alma (Helen Mirren).

Intriguingly, Alma seems to have been his muse—and the power behind the throne. A talented editor in her own right, this endlessly patient spouse knew how to sober "Hitch" up and save the day. The tender story of their tempestuous yet faithful marriage is a high point of the film.

In 1959, Hitchcock was the world's greatest director with a string of stylish thrillers to his name, most recently "Vertigo" and "North by Northwest." But he was always searching for his next hit, and Hollywood was changing fast.

"Audiences want to be shocked," Hitchcock observes. "They want something different."

To meet the challenge, he settles on "Psycho," a sensational novel by Robert Bloch, based on the real-life case of notorious serial killer Ed Gein. The lurid story is rejected by the studio, so Hitchcock opts to go it alone, financing the movie himself and crafting a sensational publicity campaign.

At one point, he orders this staff to purchase every copy of "Psycho" in the United States to prevent the public from knowing the plot—and the ending.

"Hitchcock" goes behind the scenes of the production, with stars playing stars, including Scarlett Johansson as Janet Leigh, whose character was destined to die in that famous shower scene; and James D'Arcy as Anthony Perkins, playing Norman Bates, the twisted motel owner who is dominated by his mother.

Even the ghost of Gein (Michael Wincott) pops up on set, to ask Hitchcock tauntingly why he would make such a shocking film.

Why indeed. Raised a Catholic and reconciled to his faith before his death in 1980, Hitchcock can be said to have done a great disservice with "Psycho." As this film shows, he battled the Hollywood censors to allow an unprecedented degree of explicitness: In addition to the infamous shower scene, "Psycho" was also the first mainstream movie to show an unmarried couple in bed together.

There were long-term implications to Hitchcock's "victory;" his triumph over the censors contributed to the breakdown of the long-standing production code that had regulated movie content since the 1930s.

The film contains graphic recreations of movie-making violence, a scene of implied adultery, sexual innuendo and some profane and rough language. The Catholic News Service classification is A-III—adults. The Motion Picture Association of America rating is PG-13—parents strongly cautioned. Some material may be inappropriate for children under 13.

****
Joseph McAleer is a guest reviewer for Catholic News Service.





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Catherine of Siena: The value Catherine makes central in her short life and which sounds clearly and consistently through her experience is complete surrender to Christ. What is most impressive about her is that she learns to view her surrender to her Lord as a goal to be reached through time. 
<p>She was the 23rd child of Jacopo and Lapa Benincasa and grew up as an intelligent, cheerful and intensely religious person. Catherine disappointed her mother by cutting off her hair as a protest against being overly encouraged to improve her appearance in order to attract a husband. Her father ordered her to be left in peace, and she was given a room of her own for prayer and meditation. </p><p>She entered the Dominican Third Order at 18 and spent the next three years in seclusion, prayer and austerity. Gradually a group of followers gathered around her—men and women, priests and religious. An active public apostolate grew out of her contemplative life. Her letters, mostly for spiritual instruction and encouragement of her followers, began to take more and more note of public affairs. Opposition and slander resulted from her mixing fearlessly with the world and speaking with the candor and authority of one completely committed to Christ. She was cleared of all charges at the Dominican General Chapter of 1374. </p><p>Her public influence reached great heights because of her evident holiness, her membership in the Dominican Third Order, and the deep impression she made on the pope. She worked tirelessly for the crusade against the Turks and for peace between Florence and the pope </p><p>In 1378, the Great Schism began, splitting the allegiance of Christendom between two, then three, popes and putting even saints on opposing sides. Catherine spent the last two years of her life in Rome, in prayer and pleading on behalf of the cause of Urban VI and the unity of the Church. She offered herself as a victim for the Church in its agony. She died surrounded by her "children" and was canonized in 1461. </p><p>Catherine ranks high among the mystics and spiritual writers of the Church. In 1939, she and Francis of Assisi were declared co-patrons of Italy. Paul VI named her and Teresa of Avila doctors of the Church in 1970. Her spiritual testament is found in <i>The Dialogue</i>.</p> American Catholic Blog The gates of hell cannot withstand the power of heaven. Gates of sin melt in the presence of saving grace; gates of death fall in the presence of eternal life; gates of falsehood collapse in the presence of living truth; gates of violence are flattened in the presence of divine love. These are the tools with which Christ has equipped his Church.

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