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August 13, 2017: Happy Birthday, Mr. Hitchcock


Yeah, I know, dead people can't have birthdays. But its well past Hitch's centennial.

I don't know if any cable channel is running Hitchcock films today "in honor." In past years, some have. One year Google used the Hitchcock profile drawing on his birthday with their logo and search box.

I tend to see Hitchcock's Birthday as a "Holiday of Filmmaking," a day to honor ALL filmmakers, and all film fans. Reason being: Hitch remains the most famous of filmmakers(with the TV stardom and multi-media products attached), and the most influential -- years past his death. As such, Hitchcock is the face OF filmmaking and the locus of fandom at whatever level of discourse.

On topic, I'd guess that Hitchcock had a fine birthday on August 13, 1960. Psycho had hit big on the east coast of the US in June, and had now opened on the West Coast in August. His hit TV show had new episodes in the can for fall. His books and magazine were selling.

It was a very good birthday!

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And still relevant to filmmakers today. Christopher Nolan on his latest hit, Dunkirk:

“You save a lot of money on paper,” he jokes about his 76-page script, which is roughly half the length of his typical screenplays. “Dunkirk” relies on visual imagery, not conversation, to propel the story, which can be a gamble. The characters are blank slates who offer no details about the lovers they left back home, their senses of humor or their previous heroic deeds.

“My idea was that, instead of trying to explain through dialogue why we should care about them, we use the language of suspense — we use the language of the Hitchcock thriller — to create immediate empathy with the people on-screen by virtue of their physical situations,” he says.

In prepping Dunkirk, Nolan told the Los Angeles Times that he screened Steven Spielberg’s Saving Private Ryan, then concluded, “OK, we don’t want to do anything like that.” Thus there are no blood and guts in his war movie and no soldiers kissing sweethearts goodbye. Instead, Nolan re-ran Hitchcock and opted for other devices to touch his filmgoers.

“No examination of cinematic suspense and visual storytelling would be complete without Hitchcock, and his technical virtuosity in ‘Foreign Correspondent’s portrayal of the downing of a plane at sea provided inspiration for much of what we attempted in ‘Dunkirk,'” Nolan said.

Hitchcock's influence is obvious on directors like Scorcese, Spielberg, and the Coens, and Nolan continues this tradition.
Whatever one thinks of Nolan's films, and they can be polarizing, Hitchcock still remains a huge influence on today's filmmakers, and likely will for a long time to come.

Brian DePalma said it best: "Dealing with Hitchcock is like dealing with Bach - he wrote every tune that was ever done. Hitchcock thought up practically every cinematic idea that has been used and probably will be used in this form."

Happy B'day Hitch!

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And still relevant to filmmakers today. Christopher Nolan on his latest hit, Dunkirk:
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“My idea was that, instead of trying to explain through dialogue why we should care about them, we use the language of suspense — we use the language of the Hitchcock thriller — to create immediate empathy with the people on-screen by virtue of their physical situations,” he says.

In prepping Dunkirk, Nolan told the Los Angeles Times that he screened Steven Spielberg’s Saving Private Ryan, then concluded, “OK, we don’t want to do anything like that.” Thus there are no blood and guts in his war movie and no soldiers kissing sweethearts goodbye. Instead, Nolan re-ran Hitchcock and opted for other devices to touch his filmgoers.

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Well, there you go -- a respected modern filmmaker electing to go with Hitchcock rather than Spielberg as his muse. I doubt he intended to insult Steve, but all these years out Hitchcock seems far more formative and influential than Spielberg. To Spielberg's deteriment, his great "child-like genre films" of the 70s and 80s seemed to have led to a bunch of WORSE child-like genre films made by less talented people. But Hitchcock is a master of style and narrative."

I will say this: "Saving Private Ryan"(my favorite film of 1998), opens with that gruesome D-Day sequence that used a new kind of photographic technique soon used in "Gladiator" and other films. I don't know it that was Spielberg's invention or his DP's, but it "stuck as a cinematic technique."

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“No examination of cinematic suspense and visual storytelling would be complete without Hitchcock, and his technical virtuosity in ‘Foreign Correspondent’s portrayal of the downing of a plane at sea provided inspiration for much of what we attempted in ‘Dunkirk,'” Nolan said.

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That plane crash at sea is one of the great Hitchcock set-pieces -- and pretty much his first in America -- and it IS fantastic, both in the vulnerability of the initial flying, the diagonal plummet of the plane tossing people around like dolls as they struggle upwards -- and then that water crashing through the cockpit window!

Here, the Master of Suspense influenced not only the thriller, but the disaster movie as well. Plus: Titanic(the walls of water crashing in on the ship's captain from all sides via windows). And this scene has been homage in the plane crash in "Cast Away" and the yacht sinking in "Wolf of Wall Street,' to name but two.

Oh, and Dunkirk does it too. I've seen Dunkirk. More on that "upthread."

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Hitchcock's influence is obvious on directors like Scorcese, Spielberg, and the Coens, and Nolan continues this tradition.
Whatever one thinks of Nolan's films, and they can be polarizing, Hitchcock still remains a huge influence on today's filmmakers, and likely will for a long time to come.

Brian DePalma said it best: "Dealing with Hitchcock is like dealing with Bach - he wrote every tune that was ever done. Hitchcock thought up practically every cinematic idea that has been used and probably will be used in this form."

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I think DePalma's on the mark here. DW Griffith used to get this praise, but he's too far back in time and he has that Birth of a Nation problem.

Hitchcock's stories are exciting and relevant today...so we end up getting the "film school lessons" EVEN AS we are still entertained and kept in suspense.

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"Mother" baked a Birthday Cake --

And, even brought a knife with which to CUT it !!!

https://i.ytimg.com/vi/Me-VhC9ieh0/maxresdefault.jpg


(Hey, EC, how ya doin'?)


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(Hey, EC, how ya doin'?)

Great, Gubbio, except most of my posts disappear here now. I think since I announced it...somebody's out to do it all the time to me.

Maybe some other board?

PS I tried to answer jay440 above...POOF...gone.

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Eh...on second thought...that sounds a little paranoid.

Maybe its just my aging PC. I'll look into it...

(Great cake cutting knife, by the way.)

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test test test test ...

maybe someday soon...

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RIP Jerry Lewis. (Tried to start a new thread but had issues.)

And why talk about JL on the Psycho board?

In the summer of 1960, 2 low budget BW films which were considered risky investments made a big splash. One was Psycho, the other, Lewis's directorial debut, The Bellboy.

Both films fundamentally changed the horror/comedy genres in profound ways. Psycho with the sudden gory violence and Bellboy with its anarchic freeform nonsense. Bellboy is IMHO every bit a trailblazing masterpiece as Psycho, although the 1960 audiences didn't quite know what to make of it: Is there a story somewhere here?

And ironically, both films centered on a nerdy hotel worker who causes chaos and mayhem for the unsuspecting guests. (I wonder if Mel Brooks might have had this connection in mind when in High Anxiety he made the shower attacker a bellhop?)

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RIP Jerry Lewis. (Tried to start a new thread but had issues.)

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Then lets do it here!

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And why talk about JL on the Psycho board?

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Oh, there are lots of good reasons...

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In the summer of 1960, 2 low budget BW films which were considered risky investments made a big splash. One was Psycho, the other, Lewis's directorial debut, The Bellboy.

Both films fundamentally changed the horror/comedy genres in profound ways. Psycho with the sudden gory violence and Bellboy with its anarchic freeform nonsense. Bellboy is IMHO every bit a trailblazing masterpiece as Psycho, although the 1960 audiences didn't quite know what to make of it: Is there a story somewhere here?

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Psycho and The Bellboy are very connected, as a commercial consideration first. Both were made at Paramount, and in both cases, Paramount management rejected the proposed films as "too weird." So Jerry Lewis AND Alfred Hitchcock did the same thing: practically financed the low budget films out of their own pockets, and got very rich off ownership percentages when both films hit big. Honestly, Jerry Lewis told the story of The Bellboy and Paramount and it was exactly like the story of Psycho and Paramount.

I can only figure Paramount's 1960 chief was soon fired...but I think his NYC Board ordered him to try to stop Psycho and The Bellboy.

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And ironically, both films centered on a nerdy hotel worker who causes chaos and mayhem for the unsuspecting guests.

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Ha. Great analogy! I suppose we are all "away from home and at the mercy of our keepers" when we stay at a hotel OR a motel. About ten years ago, there was a horrific story out of California about a mother travelling with her daughter and another young girl. They stopped at a motel. A "handyman" appeared to fix the sink, entered -- and killed all three. Like Marion Crane, they were "missing persons" in the news until that was found out.

Someone somewhere wrote that Perkins as Norman Bates was an offshoot of Jerry Lewis at his peak stardom -- a "man child unequipped to deal with adults in a meaningful way." The writer asked the reader to consider Jerry Lewis(in a serious mode, and he could do that) AS Norman Bates. Its not all that off the mark; think about how many times Jerry played the nerdy boy-kid who somehow connected with a buxom blonde(as in The Nutty Professor with the great Stella Stevens.) Still, Jerry Lewis as Norman would be wrong for film history.
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(I wonder if Mel Brooks might have had this connection in mind when in High Anxiety he made the shower attacker a bellhop)

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Another great point. A merger of the two great 1960 icons.

And this: remember how I always talk about a Los Angeles billboard for "Psycho" on KABC-TV for a debut in 1967? Well, a few weeks later, that billboard held an ad for "The Bellboy"(but as the early evening movie; for kids.) KABC must have bought a special "Paramount package"(Psycho didn't go to Universal til 1970.)

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At Paramount in 1960, Jerry Lewis and Alfred Hitchcock were two of the biggest stars there.

Rather as with John Wayne(sometimes at Paramount) around the same time, Hitchcock found himself as an "icon in the company of other icons," intersecting professionally with them even as he wasn't LIKE them.

Thus in 1960: Psycho and The Alamo could steal Oscar noms from each other(with Hitchcock getting a Best Director nod that Wayne wanted.) Psycho and The Bellboy could "break molds" with "art disguised as commerce. Famously, both Hitchcock AND Lewis were adored more by French critics than by Americans. And probably because of the art film feeling their "weird" films generated.

In one of his autobios, Jerry Lewis wrote of confronting Alfred Hitchcock at a Hollywood party and saying "You should have never made Psycho. It was a sick film." Lewis said he was more upset by the "Marty Balsam murder"(as Lewis called it) than the shower scene. Hitchcock said, "well, the movie made a lot of money" and Lewis said "that's no excuse for making it."

I wonder if that really happened. Great story if it did. Jerry Lewis confronts Alfred Hitchcock on morality. The Kid's Star versus the Master of Suspense.

If it DID, happen, I'll bet Hitchcock thought to himself "What a dolt this Lewis fellow is."

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Here's a thought on the passing of Jerry Lewis:

Hitchcock died in 1980..only four years after making his final film, Family Plot.

John Wayne died in 1979..only THREE years after making his final film, The Shootist(in 1976, the same year as Family Plot.)

But Jerry Lewis...admittedly born after Hitchcock and Wayne...lasted for DECADES after his final movie -- if one counts "The Nutty Professor" (1963) as his final movie. Oh, Lewis made a few more after that, but they weren't hits. By 1970 (when he was let go from a Warner Brothers contract after Paramount dumped him first), Lewis was over as a movie star.

And yet he lived on for decades.

Now he did other things. Including one great movie -- The King of Comedy for Scorsese -- that is certainly a "real movie." And a few other movies that nobody saw(Hardly Working). And some TV(Wiseguy). And stage work with Damn Yankees and other plays.

And -- infernally and almost forever -- the Jerry Lewis telethon.

But Jerry Lewis lived on in Hollywood decades past his greatness. Its a sad gift, really. Hitchcock and The Duke lasted but a few years and left.

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All that said, Jerry Lewis WAS a great. Twice.

First and famously with Dean Martin (and how weird THAT seemed with each year the men were apart; you couldn't picture it if you didn't see it.)

Then, as a bit of a "Kid Film God" without Dino, from about 1958 to 1963 -- hey, concurrent with Hitchcock's Vertigo-Birds peak! Except those kids films had weird, adult elements to them -- certainly The Nutty Professor did("Buddy Love" is one sick Hollywood cat, more Sinatra than Dino), but how bout that movie where Jerry mimed a bigshot studio head giving orders while jazz music played on the soundtrack. Its art, baby.

When Jerry was over, he was over. And he had been so mean to people when he was a star that he was dumped and abandoned and buried. But he always had fans, and scholars.

And a great friend in Peter Bogdanovich. In a bit of mutual survival, the struggling Bogdo wrote great articles about Jerry Lewis in the sixties in exchange for a car from Jerry and access to the Paramount film library screening room on the lot(privileges were revoked by the studio for "overuse.")

Bogdo made pals with Howard Hawks and Hitch, too -- but those guys didn't NEED promotion like Lewis did. Oh, well, the deal worked.

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Finally, on Jerry's passing:

Is that it? The end of that era? Jerry at his peak was at one with Frank and Dino and Hitch and The Duke....and they are all gone now. Jerry was the last of a breed.

Well, Kirk Douglas is hanging in there.

RIP, Jerry.

PS. My favorite JL movie from my childhood is the one like a thriller(natch): Its Only Money, a Hitchcockian tale about Jerry being a missing heir to a fortune who keeps dodging murder attempts by Zachary Scott and Evil Butler Jack Weston. One attempt is like the crop duster scene, but at night with a car on a street(which is what Hitchcock said he was trying to AVOID with the crop duster scene.) Directed by Frank Tashlin, 1962. Catch it if you can.

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Yes, JL as Norman would be very wrong, but Lewis got his dig in with his followup film The Ladies Man, where he appears in one scene as his character's mother.

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Yes, JL as Norman would be very wrong,

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Absolutely, though the thematic tie-in to the kind of boy-man character he was playing back then rather ties in TO Norman.

This same writer(it might have been David Thomson) also offered up Elvis Presley as a possible Norman, writing something like "it seems ridiculous, but once you imagine it, you can't get it out of your mind."

I can.

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but Lewis got his dig in with his followup film The Ladies Man, where he appears in one scene as his character's mother.

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Indeed. Lewis was evidently hatin' Psycho by then, why not make some fun of it?

I have a "You Are There" very early memory of actually seeing The Ladies Man first run...though all I recall of the experience is the title and that Lewis was in it.

It was at a drive-in. My parents let me go "alone" with kid friends and their parents. We were in a station wagon. The co-feature was...Elvis Presley in Blue Hawaii.

At the intermission, we left the car for popcorn. I got separated from the group as I returned(ditched?) and jumped into the station wagon alone...

...finding myself in the WRONG station wagon. Embarrassment. Confusion. Terror. Laughter.

A classic childhood memory. The Ladies Man/Blue Hawaii.

As for The Ladies Man itself, I saw it years later and noted its "Rear Window" look and feel. Jerry is a eunuch-type living at a boarding house filled with young aspiring actresse...their various floors and rooms visible at once "cutaway" style on a big sound stage(likely the one where Rear Window was filled.) Jerry was not a REAL Eunuch, just rather treated as one. But he finds love...

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In the obits on Jerry Lewis, I noted that Paramount offered him a big 10 million contract at the beginning of the 60's. He was hot then, but dropped like a stone after 1963...and they were stuck paying him to make more movies.

Consider: Hitchcock , so hot off of Psycho and North by Northwest, vamoosed to Universal with Uncle Lew Wasserman. But what if Hitch had STAYED with Paramount?

Likely a deal as big as Jerry's. Hitch might have made the same movies or not -- Wasserman rejected Mary Rose and The First Frenzy at Universal; what if Paramount said "OK">

We'll never know.

Paramount dropped Jerry at the end. He went to Warners for awhile and was fired there. But I think Hitch might have always had Universal waiting for him....

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Reminds me of the deal that Jackie Gleason had with CBS. The network was so worried Gleason might move to NBC or ABC that they paid him millions, whether he had a show on or not. And he didn't for 5 years from 1957 to 1962. How sweet that was!

Not to mention letting him move his 60s show from New York to Miami at great expense so he could play golf year round.

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Reminds me of the deal that Jackie Gleason had with CBS. The network was so worried Gleason might move to NBC or ABC that they paid him millions, whether he had a show on or not. And he didn't for 5 years from 1957 to 1962. How sweet that was!

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I guess The Honeymooners made him God-like. I wonder why he took the five years off. I certainly remember growing up with his show on the folks' TV, and I remember the move to Miami, which made his show seem "sunny and exotic" all the time. It was interesting for an entertainer to "stake out a city as his turf."

Gleason was also a movie star during these years. The Hustler was the serious masterpiece, but he's in "Papas Delicate Condition"(notable mainly for the charming Oscar winning song Call Me Irresponsible) and Gigot and stuff like that there. He was almost in the Matthau role in The Fortune Cookie but Jack Lemmon lobbied for Matthau -- quite a break for Matthau!

Personally, I was intrigued how Gleason seemed to drop out for a few years and come back with new-found "star power." Smokey and the Bandit. The Sting II(awful). And Nothing in Common with Tom Hanks as his son -- and Eve Kendall herself, Eva Marie Saint, as Gleason's wife. From Cary Grant to Jackie Gleason. Hmm....

His Minnesota Fats character was written into the "not-as-good" Hustler sequel, The Color of Money, but Gleason turned it down. Gleason also shot down a Gleason-Art Carney reunion in Spielberg's 1941 -- they would have been the two lookouts on the ferris wheel...

Not to mention letting him move his 60s show from New York to Miami at great expense so he could play golf year round.

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