My Name is Alfred Hitchcock (2024)

My-Name-is-Alfred-Hitchcock-(2024)
My Name is Alfred Hitchcock (2024)

Alfred Alfred Hitchcock has perhaps been a part of many articles, books, and critiques over any other filmmaker. This is partially because of the extent of his filmography as he directed no less than fifty-three feature films over more than five decades, but even the most unremarkable pieces still managed to provide substance for audiences and researchers over the years. Decades of movies have provided inferential material for scholars everywhere as the critics transformed his repeated thematic concerns and visual techniques into areas of ongoing research. As such the challenge has escalated, to this perspective the latest documentary “My Name is Alfred Hitchcock” makes fun of most of its watchers and audaciously says, “Hold my Montrachet.” This perspective will fascinate most viewers rather than shock them and this perspective is most commonly accepted. The documentary in question proceeds to make a tentative and soft promise to the viewers, that they will embark on a journey to view and understand Alfred’s work and detail through his ideology and mindset.

Instead of repeating the well-known issues present in Hitchcock’s oeuvre, the documentary places emphasis on six usually neglected aspects, which he creatively incorporated into his artworks: longing for escape, isolation, temporality, satisfaction, and altitude. But the starting point, they use in order to highlight these, is more interesting: photographs from practically all his films, starting from his early silents like The Lodger, his classics Rebecca, Notorious, Psycho, and the often grossly understated later films like Marnie, Topaz and Family Plot. However, the film uses them as the staging of discussion of much more interesting topics. Take, for example, the escape section, which is self-explanatory what’s the average number of Hitchcock characters that have been in the pursuit of escaping from an actual pursuer? We can also include how characters in The Birds or Marnie try to escape from themselves instead. In the end, he uses his bold stylistic techniques (like the famous murder of Karin Dor who starred in Topaz ), the nature or logic of any narrative is mundanely discarded and viewers are surprised. When it comes to desire, the writer explores issues of the positive side of chasing some goal and the unfortunate case when this feeling turns to the dark side.

France 2 could have made this general scope radiophonic film less complicated by condemning Mark Cousins to simply collecting work from various film analysts and academics. It would also have been simple for Mark Cousins to sit on a tableside and go on talking to Andrew Hussey about anything for an hour, and then they would still call it a film. It was not right to try to make accurate predictions as he did in “History of Film”; instead, he is now not hesitant to say that this is a film crammed with theories, paradoxes, and bizarre outcomes all at once including and in the course Mark ambitiously uses the film as one of his appendices. Even as Welles reads the letter to him, it is hard to believe that they do not think this when Welles stretches his character out one last time.

In one regard Alfred Hitchcock’s life is not given attention in the film which is ‘My Name is Alfred Hitchcock’ but the absence does call for raised brows. This aspect of his life is said to revolve around Tippi Hedren during the filming of The Birds all the way till during Marnie when things escalated. There are instances of things becoming violent but they can be seen as instances that are not exclusively related to the world of cinema. It’s considered strange that in the disguise of Alfred Hitchcock, he affectionately shared so many other facets of his life and he keeps quiet on this particular instance.

My Name is Alfred Hitchcock is a fascinating film that combines solid research, controversial analysis as well as some caustic jests every now and then, especially in a segment where Hitchcock apologizes for his work against everyone’s will during the concluding sequences of Psycho where the psychiatrist is forced to explain several controversial practices, looking now at the film more as a scholarly piece. This is surely going to be one of the compulsory and highly researched essays for the ones majoring in cinematography. My aim isn’t as much, or rather I’m trying with the approach of the other suggestions so that ordinary viewers who don’t watch closely still find it interesting. You may have more or less a few recommendations afterward, however, do not skip a chance to watch the interview when it’s released as it will leave you with a never-ending thirst, which can be quenched by watching Hitchcock’s work.

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