roundup

23 01 2008

 The lovely Stanford Theatre has a Hitchcock Festival this winter. Two films every week until the end of March. And Castro, in the city, hosts the Film Noir Festival.

Then again, if you are only into Sundance like stuff, there is the Indie Film fest and the Jewish Film fest

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8 responses

24 01 2008
Falstaff

Show off.

The Hitchcock festival looks interesting, though I’m still trying to figure out what Philadelphia Story is doing in there (trying to imagine a remake directed by Hitchcock – will Tracy marry Kittredge? Or will she return to C.K. Dexter Haven? And who is this young, mysterious Connor guy? Oh, the suspense). Also, why people insist on playing the 1956 version of The Man Who Knew Too Much when the 1934 version is so much better I’ll never know. I mean okay, so there’s Jimmy Stewart in the 1956 one, but 1934 has Peter Lorre and life just doesn’t get better than that. At least they’re not showing Marnie (though I notice they do have The Trouble With Harry).

24 01 2008
Space Bar

I realise with sorrow that I haven’t seen The Foreign Correspondent, The Wrong Man and The Trouble With Harry. Life is clearly not worth living – unless I live it in The Stanford Theatre.

And will you look at the faces they had in the noir thingy!

Falstaff, agree about the Lorre version of The Man Who Knew Too Much, but I’ll never understand why Marnie is such a problem for you. The worst thing about it is Sean Connery (who’s terrible, I’ll admit) but nothing else about the film is worse than any of Hitchcock’s other excesses.

24 01 2008
Falstaff

SB: Haven’t seen the Foreign Correspondent either. And if it’s any consolation, The Trouble With Harry is another one of those forgettable Hitchcock’s. Man tries and fails to be either funny or thrilling. It’s like a bad P.G. Wodehouse rip-off with a corpse thrown in. Only notable, as far as I’m concerned, for the fact that it marks Shirley Maclaine’s screen debut.

And no, the worst thing about Marnie is Tippi Hedren (at least Connery is good looking). I’ve seen mannequins with more dramatic range. I think my trouble with Marnie is that it just felt like such a cheap B-grade knock off. You’re probably right about it not being worse than some of his other abominations, but it’s the only one of the abominations I watched with anything like hope. Plus, I can’t get over the fact that it makes for such an inflection point in the man’s career – before it he makes Vertigo, Psycho and Birds, after it he makes Torn Curtain, Topaz and Frenzy. Talk about the mighty fallen.

24 01 2008
blackmamba

Well, I wasn’t really gloating. I think, I will be catching only a couple of the Hitchcock films. The Noir, probly not.

And Falstaff, I had thought they just meant the 10 weeks after the week playing Philadelphia Story.

Let’s say I will watch about 5-6 films. Which would you guys suggest I catch?

25 01 2008
Falstaff

Hmmm…depends on which ones (if any) you’ve already seen. It’s probably easier to pick the ones I would suggest you skip – in descending order of missability: The Trouble With Harry, Rebecca, Suspicion, Rope, The Wrong Man, The Man Who Knew Too Much (this version, at least), Young and Innocent and Spellbound (which is worth watching, but mostly for the Dali set designs). And I haven’t seen Foreign Correspondent so I can’t say. Everything else, you’re good.

25 01 2008
blackmamba

Thanks. Well, I remember having watched N by NW, Rebecca, Birds, Vertigo and bits of Psycho. So a lot of films to catch then.

And Space bar, it is worth it only when the theatre is not under renovation as it was for a largish period last year. But did watch Roman Holiday and one of Peck film there a couple of years back. Will try to catch The Foreign Correspondent, The Wrong Man and The Trouble With Harry for you.

25 01 2008
Falstaff

BM: Hmmm…then I’d say your top choices are Rear Window and Lady Vanishes. And, of course, you really should watch all of Psycho. Beyond that, I’d watch 39 steps, To Catch A Thief (if only for Cary Grant) and Dial M for Murder. But that’s just me.

25 01 2008
Space Bar

I’d certainly watch Dial M for the timing. It’s fantastically edited – at least I remember it that way.

I’d watch Rope for precisely the opposite reason, but I’m perverse that way. I find the film endlessly fascinating for how the set itself is the set piece, for the sheer nerve of the experiment.

But if you don’t care that you’re watching a film several times over, then Vertigo, Rear Window, Psycho, The Lady Vanishes and The Secret Agent (I’m fond of his early phase).

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