Download A Year of Hitchcock: 52 Weeks with the Master of Suspense by Eric San Juan, Jim McDevitt PDF

By Eric San Juan, Jim McDevitt

Review
Recommended. (Library magazine )

A yr of Hitchcock is prepared into fifty two chronological chapters and invitations readers to spend a yr with the director's top works to understand his improvement. every one movie is taken into account in mild of Hitchcock's profession and topics imperative to his paintings, delivering a spotlight at the variety of his recognized and lesser-publicized movies and offering a key research excellent for any college-level movie library desirous about Hitchcock's motion pictures. (California Bookwatch, November 2009 )
Review
Recommended.
(Library magazine )

A 12 months of Hitchcock is prepared into fifty two chronological chapters and invitations readers to spend a yr with the director's most sensible works to understand his improvement. each one movie is taken into account in gentle of Hitchcock's occupation and topics primary to his paintings, providing a spotlight at the diversity of his well-known and lesser-publicized motion pictures and delivering a key research excellent for any college-level movie library fascinated about Hitchcock's movies. (California Bookwatch, November 2009 )

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Extra resources for A Year of Hitchcock: 52 Weeks with the Master of Suspense

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V. France and Helen Hay), a rich family fighting for the rights of poor farmers in danger of losing their homes to Mr. Hornblower (Edmund Gwenn), a real estate speculator. Hornblower is interested in acquiring the farmers’ homes so he can use the land to build factories. A financial battle ensues, with Mr. Hornblower outbidding the Hillcrists at auction for the land, much to their dismay. But when Mrs. Hillcrist learns that Mr. Hornblower’s daughter, Chloe (Phyllis Konstam), was once a prostitute, she uses this information to blackmail the Hornblowers.

Juno and the Paycock is such a film. A talky stage play put to film, the 38 JUNO AND THE PAYCOCK (1930) 39 only reason it can’t be called “forgettable” is that it’s difficult to forget being so bored by a Hitchcock film. Sir Alfred built his career on tight plots and sharply honed drama, the kind of films that, even when you see their inner workings, rarely fail to play the viewer like a violin. In this case, however, the plot meanders, never quite finding its focus. Had Hitch been given greater control over the writing, perhaps some drama could have been salvaged from this melodramatic mess, but that was unlikely to happen; Juno and the Paycock was—and remains— a hugely popular stage play in Ireland.

It is from the landlady. Before the scream is over, the scene cuts to the landlady discovering the corpse of The Artist, his outstretched arm poking from beyond a curtain. It is a startling bit of editing, and this touch of flare adds to the impact of the moment. Yet Blackmail ultimately fails because it does not deliver suspense. For a movie that has just about every essential Hitchcock element—beautiful compositions, a blonde lead, a dead body, a link between sex and death, a chase at a famous landmark, dark conversations over dinner, the police as a figure of menace—it manages to lack suspense or drama.

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