Siskel & Ebert: Dial “H” for Hitchcock - Brainstorm, Rear Window, Rope, Vertigo
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- Опубліковано 1 сер 2021
- In this episode, from 1983, Siskel and Ebert talk about Alfred Hitchcock and his mark on cinema. The films discussed include: Brainstorm, Rear Window, Rope, The Man Who Knew Too Much, The Trouble with Harry and Vertigo.
Hitchcock's personal favorite among his work was Shadow of a Doubt because he loved the idea of murder in the home.
I thought it was a brilliant choice that foreshadowed the great works of Siskel & Ebert tv episodes decades later.
I always felt it was an odd choice of music used by Hitchcock in “The Man Who Knew Too Much” during the murder scene 9:45.
I assume you are being facetious, but if you truly think that that was the actual soundtrack, it was not. It sounded like the "At The Movies" theme song somehow got played over the scene. Really ruined it.
@@raymondm.9954 LOL i wouldnt have thought that was the soundtrack but i did admittedly check to see if an ad had opened in another window. then again speaking of misplaced songs i had forgotten the musical from the remake of the man who knew too much. i havent watched that version because i liked the original with peter lorre. it wasnt a masterpiece like his movie with fritz lang or anything but it was entertaining. a feat considering how old it was. it did sound like their theme lmao it would have fit for a sick art film like "el topo" maybe..
I'm a little surprised they didn't like Rope more. It seems to have higher critical praise today than it did 40 years ago when it got released again.
I like Notorious more than any other Hitchcock films and it's not even close. Notorious is in my top 5 films all time.
It's so underrated by many Hitchcock fans. The ending might be the best of any movie I've seen.
North by northwest dude
@@63002 I like a lot of his films. Vertigo and NBN and the Man Who Knew Too Much are all great films, too. He has too many good films to name. Notorious is my favorite, though. I like the romance.
Notorious is one of Hitch's finest but for me, despite it's rather serious flaw, Vertigo is his best.
@@ricardocantoral7672 Fun movie to watch sometimes. I own the 4k of Vertigo. I wish a 4k disc of Notorious would come out. Instead, there's a 4k remastered on regular 1080p Blu-ray.
it's really Hitchcock's use of George Benson-esque jazz in THE MAN WHO KNEW TOO MUCH @ 9:45 that shows how truly ahead of his time he was from his contemporaries. a true visionary.
I saw four of the five Hitchcock films in theaters during their re-release. I eventually saw "The Trouble With Harry" on video. "The Man Who Knew Too Much" is one of my absolute favorites all-time. "Rear Window" is second-best of these five.
They forgot that there is one jump-cut in "Rope," when Jimmy Stewart realizes what has happened.
They talk about how some of Hitchcock's work was reused in other movies. I haven't seen _The Man Who Knew Too Much_ but if a murder is timed to symbols, then that kind of thing was re-used repeatedly, like in _Indiana Jones and the Temple of Doom_ to corks popping.
Rear Window is my favourite Hitchcock
I saw it much later, but did see Brian De Palma's _Body Double (1984)_ first. When you think about it, the latter really doesn't make sense because the witness has met the husband, who has put him in the house to see the murder, and it's just a matter of time before he sees a picture of the guy. Similarly if the police find out how he came to be there, say by contacting the owner of the house.
If I saw _Vertigo_ I don't remember it. But they used claustrophobia in _Body Double_ that the main character has to overcome both to save his life and his career much like a character suffering vertigo.
They should've done the birds too. My favorite movie of his
of course, Siskel & Ebert did not pick these movies. These five movies were given wide releases in 1983 for reasons explained at the beginning of the video. I was lucky enough to see both Rear Window and Vertigo projected at that time. The prints weren't as clean as we see today with modern restoration techniques, but they were both magical. The point is they were current releases just like the Star Wars Trilogy Special Editions were later in 1997. Ebert lists his personal favorite Hitchcocks in the video. I didn't like The Birds when I saw it on TV back then, but I've grown to appreciate it now. (I was distracted by the obvious optical effects as a kid, but enjoy the dilemma of Ms. Hedren's character these days). Sorry for the long and potentially irrelevant reply, these reissues were a really powerful bridge for me between the old and the new. I'd love to see The Birds in a theater tonight with a crowd.
I thoroughly enjoyed Strangers on a Train.
I didn't see the original Hitchcock movies growing up in the 1980s, but saw those based on them like _Throw Momma from the Train._
6:56 Gene talks about the person with the "pet cat" and the woman who sets up for a date who doesn't show up. He's obviously referring to the little dog, and the imaginary dinner date Miss Lonely Hearts sets up for herself. I guess it's easier for someone today to take for granted seeing the movie as often as they want. I'm guessing Gene only got to see it very few times up to that point, just like everyone else.
These are not favorites of mine in general. But Rope is pretty good and not because it was probably based on Leopold & Loeb. I like how tightly drawn the story is and how the tension is consistent. It works because the performances work.
9:45 What happened with the audio?
NBC had a copyright claim for the segment. I replaced the sound to get pasted the copyright. Otherwise, the segment needed to be trimmed out.
Sounds like how when they present appearances on late night talk shows, they skip the movie clip that's shown that night and to the studio audience. We're lucky to get what we do from movies in these episodes.
That audio error was amazing and hilarious but Alfred Hitchcock is a beast I was born in 90s yet psycho was amazing to me but the explain at end I hated.............also Rear Window started the whole "stalking" movie theme and Vertigo is good sorry I just thought "good"
I prefer Rear Window to Vertigo and Rope is a really good movie. I think
S & E we're a bit jaded at this point
they got it wrong none of the films hitchcock directed won best picture. rebecca 1940 jeez did they even know movies at all?
This was before they got famous (it's from 1983). Their show didn't really get big until the mid 80s.
1:09 I would love a Mai Tai right now
I can't believe they didn't mention Ward Bond.
What's up w the audio error?
Was Roger's review of "Brainstorm" originally part of this episode?
....it looks like it was tacked on..... still interesting though.....
@@jefferyballard894 Yeah, it looks odd since Gene Siskel wasn't part of it. This episode was Oct 1, 1983, and the one with _Brainstorm_ was Oct 8, 1983 along with _The Big Chill;_ the latter made it into their "best of" show for 1983.
I did enjoy _Brainstorm,_ though it seems odd in some ways. Maybe because it had to be partly rewritten after Natalie Wood's death, and her sister was used as a stand-in or something?
Vertigo is a great film but there's on major flaw, you can't believe that girl would go to such lengths in order to appease Stewart.
Ricardo Cantoral, the reason Judy (who pretended to be Madeleine) went to such lengths to appease Stewart's character (Scottie) is because she felt guilty about having tricked him into thinking she was Madeleine, Elster's rich wife (We don't even know if Madeleine was the real name of Elster's wife). Elster paid Judy to dress up and do her hair just like his wife's, whom he wanted to kill to get her money. And he knew that he could get away with throwing his dead wife's body out of the mission tower and making it look like Judy was the one who jumped to her death because Scottie's vertigo would prevent him from chasing Judy to the top, as it did. So when it was all over and Judy disappeared back into her old life, she was trying to suppress the feelings of love she had developed for Scottie during her ruse. Then he suddenly finds her again, not realizing at first that she was "Madeleine" all along. She secretly still loved him, and that's why she was willing to do everything he asked to change her appearance, based on his obsession.
You are right, though, that any other woman who was the subject (or victim?) of mistaken identity would never appease a man to that degree, even if she found him interesting.
Actually, I have to check what I said about us not knowing if Madeleine was the true name of Elster's wife, because in the inquest scene, when the jury ruled that Madeleine's death was a suicide, they would have had access to legal records with her true name (as a real-life inquest would). Still, Elster was deceiving the inquest by making Madeleine's death appear to be a suicide, when in fact he had already murdered her before throwing her body out of the tower at the very moment when Judy screamed for effect to deceive Scottie. Elster was saddling Scottie with a sense of guilt and even had the balls to sympathize with Scottie over his treatment during the inquest. Such a brilliant plot! Three Cheers for ol' Hitch!!
@@brianforbes8325 I understand that she felt guilty about participating in the whole charade and I could believe that she found him attractive but she was appeasing a morbid fascination for the "dead" woman. That love from Scottie was not love, as Hitchcock stated, it was a form of necrophilia. I just can't believe her, or any woman for that matter, would go through so much in order to satisfy a man that she didn't really know.
@@ricardocantoral7672 its only a movie.
in this special roger ebert incorrectly asserts that none of hitchcocks films won "best picture" at the oscars. "rebecca" was nominated for 11 oscars, more than any other picture that year, but won only for best picture and cinematography in 1940. i think he meant to say that alfred hitchcock was one of a lengthy list of great directors to never win the oscar for best director. he shares that dis-privilege with other noteworthy "goat" directors like orson welles, charlie chaplin, ingmar bergman, howard hawks, stanley kubrick, quentin tarantino, spike lee, ridley scott, werner herzog, david fincher, and jordan peele. as far as oscars for best director go john ford holds the record with 4, infamously beating out "citizen kane" for the award going instead to "how green was my valley".
Ebert was wrong. Rebecca won best picture.
Your correct that Rebecca won but the oscar didnt go to him it went to David O Selznick
@@65g4 you are wrong and likely voted for yourself. roger plainly said none of the movies directed by hitchcock won for best picture. he was wrong or likely just lying to be a snob. at times they were the two most pretentious dolts on earth.
Siskel seemed to contradict himself in this discussion; he said that none of these films were among Hitchcock's best, yet he spoke rhapsodically along with Ebert about Rear Window and Vertigo as great films. He couldn't have it both ways!
You're misquoting him. He says ( at 10:41 ) "these five films that we're discussing are not the five greatest Hitchcock films ever made". That doesn't necessarily mean that NONE are among the 5 greatest, just that "greatest" is not the criteria for the films in this episode.