First, my favorites:
The fifties were Hitch's dream decade. He already had the fame requisite to do what he wanted, within the limits the studio system at the time would allow. Hitch learned how to negotiate to get that very thing.
In the pre-fifties he produced some remarkable flicks, with Rebecca insuring his fame. My favorite early works are 39 Steps, The Man Who Knew Too Much, and A Lady on a Train. There were other gems, too. Notorious and Saboteur, the latter featuring the first Hitch film with a climax at an iconic American location.
To the fifties. First, the best:
A trilogy of gems:
Rear Window -- An eye-popping, claustrophobic exercise with exquisite acting and an unquestionable Hitchcock plot. Sure, Stewart and Kelly are wonderful, but the standout is Thelma Ritter who certainly deserved Best Supporting for her iconic and delightful scenery chewing.
Vertigo -- Recently voted best film ever. But, why should such a long, slowly paced film be honored such? Because Vertigo is stunningly beautiful. It is Hitchcock's greatest because his visual artistry is most evident in this film. Plus, it has Kim Novak at her stunningly best. It is the best she ever did -- and that is saying something. If you haven't seen it a while, try it again and be prepared for your eyes to be impressed.
North by Northwest -- How do you make a movie without a plot? This is how it's done. Jerry Seinfeld would later do this writ large, or at least persistent. But Hitch did it here first. Again, beautifully filmed and designed. Vera Miles was originally cast as Eve Kendell, but when they finally got around to getting the film started, Miles was pregnant, so Hitch chose Eva Marie Saint, who played the femme fatale with chilling accuracy. The non-plotted film has so many twists and turns it is like a modern graphic novel. That is how I think of this one. The climax is a stunner, Hitchcock's best, IMHO. Ignore the figurine, it's only a MacGuffin.
The rest:
Strangers on a Train -- Wow! This probably belongs amongst the above class. The only thing is the cast could have been better. Farley Grainger and Ruth Roman are not amongst my favorites. But this is still high Hitch art.
Psycho -- Also high art. I just don't know why I don't like to watch Psycho as much as the three color films, above. But, by all means, among his greatest. I just don't much like to watch it. It is very disturbing, which Hitch would undoubtedly count as a complement.
The Birds -- Are you kidding? Give those gulls a drop kick*. My least favorite Hitch of his great decade.
The Man Who Knew Too Much -- the fifties remake. I do not know why Hitch remade his own film. It isn't very good. In fact, casting Doris Dog in it was undoubtedly not Hitch's choice. She single-handedly ruins an already weak flick. Worse yet, she attempts to sing (a wretched song on top of it -- undoubtedly a studio choice). Spielberg paid homage to this flick with a scene in the first Indiana Jones movie. Otherwise, I will never watch this wretched film again. But, not Hitch's fault, I think. I guess I despise Doris Dog.
*Thank you to Perry DeAngelis:
Sorry for the long post.
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