Ajouter une intrigue dans votre langueExploring Hitchcock's iconic style through his early film "Blackmail," an insight into the director's emerging techniques and themes during the transition to talkies, showcasing elements tha... Tout lireExploring Hitchcock's iconic style through his early film "Blackmail," an insight into the director's emerging techniques and themes during the transition to talkies, showcasing elements that would define his later masterpieces.Exploring Hitchcock's iconic style through his early film "Blackmail," an insight into the director's emerging techniques and themes during the transition to talkies, showcasing elements that would define his later masterpieces.
Elvis Mitchell
- Narrator
- (voice)
Alfred Hitchcock
- Self
- (archive footage)
Martin Balsam
- Det. Milton Arbogast in Psycho
- (archive footage)
- (uncredited)
Raymond Burr
- Lars Thorwald in Rear Window
- (archive footage)
- (uncredited)
Donald Calthrop
- Tracy in Blackmail
- (archive footage)
- (uncredited)
Anthony Dawson
- Charles Swann in Dial M for Murder
- (archive footage)
- (uncredited)
John Gavin
- Sam Loomis in Psycho
- (archive footage)
- (uncredited)
Cary Grant
- Roger Thornhill in North by Northwest
- (archive footage)
- (uncredited)
Tippi Hedren
- Melanie Daniels in The Birds
- (archive footage)
- (uncredited)
Grace Kelly
- Margot Wendice in Dial M for Murder
- (archive footage)
- (uncredited)
Martin Landau
- Leonard in North by Northwest
- (archive footage)
- (uncredited)
Janet Leigh
- Marion Crane in Psycho
- (archive footage)
- (uncredited)
John Longden
- Detective Frank Webber in Blackmail
- (archive footage)
- (uncredited)
Anny Ondra
- Alice White in Blackmail
- (archive footage)
- (uncredited)
Anthony Perkins
- Norman Bates in Psycho
- (archive footage)
- (uncredited)
Cyril Ritchard
- Mr. Crewe, an Artist in Blackmail
- (archive footage)
- (uncredited)
Eva Marie Saint
- Eve Kendall in North by Northwest
- (archive footage)
- (uncredited)
James Stewart
- L.B. Jefferies in Rear Window
- (archive footage)
- (uncredited)
Avis en vedette
I'll admit my bias off the top: I think Hitchc0ck in England was a cinematic genius. Whereas Hitchc-ck in Hollywood was a hack. So this little documentary should interest me, yes?
Wrong.
I mean, the movie images are there.
But the writing is so dull my attention kept wandering. Yet it gets worse: the narration drove me to imdb to check whether it was generated by AI. Who talks like this? Apparently, Elvis Mitchell does.
He speaks like he's inserting random commas and periods in sentences. Very distracting.
He's also a monotone.
I'd be interested in re-watching this documentary if they re-record the narration. There might actually be something interesting here.
Wrong.
I mean, the movie images are there.
But the writing is so dull my attention kept wandering. Yet it gets worse: the narration drove me to imdb to check whether it was generated by AI. Who talks like this? Apparently, Elvis Mitchell does.
He speaks like he's inserting random commas and periods in sentences. Very distracting.
He's also a monotone.
I'd be interested in re-watching this documentary if they re-record the narration. There might actually be something interesting here.
10Yohghurt
Its a fascinating deep dive into the mind of a true cinematic genius. It's not just about his films, it's about how Alfred Hitchcock shaped the language of suspense and redefined storytelling itself. The documentary pulls back the curtain on his early years, and you start to understand the layers behind his brilliance. It's beautifully made insightful, well-paced, and full of moments that make you go 'Ah, so that's where that came from'. A must-watch if you love film, storytelling, or just want to witness how a legend built his legacy one frame at a time. Honestly, it made me appreciate the art of direction in a whole new way. Not just a documentary a quiet masterclass.
This is a wonderful documentary that I think Hitchcock fans will enjoy. I watched it on TCM in conjunction with watching both the silent version of Blackmail and then the talkie version and it was the ultimate set up allowing me to enjoy Blackmail in a way I wouldn't have otherwise. The clips and images in this documentary were my favorite part as the narrator cycles through the common themes of Hitchcock's films. Food, Sex, the cameo, the blond, the villains, the music, iconic locations, the big chase scene, and murder weapons...all discussed with cross film comparisons and mostly starting right here in the first Hitchcock talkie, Blackmail.
My favorite part of this documentary was the side by side comparisons between the Silent and Talkie versions of Blackmail. Absolutely worth watching.
My favorite part of this documentary was the side by side comparisons between the Silent and Talkie versions of Blackmail. Absolutely worth watching.
Becoming Hitchcock... the Making of Blackmail is a 2024 documentary I just saw on TCM.
It takes a look at the first Hitchcock talkie, Blackmail, also released as a silent film, and how he framed moments differently in each.
The documentary also traces back those Hitchcock touches and how he applied them to his various films - his use of landmarks, types of murders, food, artwork, screams, etc., all fascinating, some less obvious than others until you see them brought together in a documentary.
At one point, the narrator directed the viewer to a partial sign in one scene that read sex to come - we don't know what the rest of it said, but it was deliberate on Hitch's part.
I'd like to point out some other subtle sexual references- the obvious train going into the tunnel at the end of North by Northwest is one. However, the best is the magazine Grace Kelly is reading at the end of Rear Window: Himalayas.
In Blackmail, there is a scene where Anny Ondra is undressing as Cyril Ritchard plays the piano and sings about a date night. Very reminiscent to me of Kim Novak, now transformed back in James Stewart's vision, emerges from the bathroom. Hitch described that as a man waiting to make love to a woman.
These moments, so many captured in this documentary, help us appreciate the subtleties in Hitchcock's work, sometimes missed as we watch the attractive villain, the normal man in unusual circumstances, the bomb we but the characters don't know is about to go off.
Highly recommended.
It takes a look at the first Hitchcock talkie, Blackmail, also released as a silent film, and how he framed moments differently in each.
The documentary also traces back those Hitchcock touches and how he applied them to his various films - his use of landmarks, types of murders, food, artwork, screams, etc., all fascinating, some less obvious than others until you see them brought together in a documentary.
At one point, the narrator directed the viewer to a partial sign in one scene that read sex to come - we don't know what the rest of it said, but it was deliberate on Hitch's part.
I'd like to point out some other subtle sexual references- the obvious train going into the tunnel at the end of North by Northwest is one. However, the best is the magazine Grace Kelly is reading at the end of Rear Window: Himalayas.
In Blackmail, there is a scene where Anny Ondra is undressing as Cyril Ritchard plays the piano and sings about a date night. Very reminiscent to me of Kim Novak, now transformed back in James Stewart's vision, emerges from the bathroom. Hitch described that as a man waiting to make love to a woman.
These moments, so many captured in this documentary, help us appreciate the subtleties in Hitchcock's work, sometimes missed as we watch the attractive villain, the normal man in unusual circumstances, the bomb we but the characters don't know is about to go off.
Highly recommended.
An informative and entertaining documentary, but I can only recommend it to those who have seen most/all of Hitchcock's films, since the doc spoils many of them.
Because the doc is centered on an analysis of the movie Blackmail, I suppose one should expect the spoilers we get for it. But in the process, without warning, the program also gives major spoilers (including footage) from Sabotage, Psycho, Vertigo, Murder, and Stage Fright. (For the last two, it even gives away who the murderers are!)
From a critical standpoint, the spoilers do tie into the documentary's overall message. But it would've been a service to the audience if a warning had appeared at the beginning, especially about the last five films I mentioned.
If you've watched them and Blackmail first, you will probably enjoy coming back to see what Becoming Hitchcock (BH) has to say. Besides being a good film, Blackmail was historically important. Routinely held up as Britain's first sound film, it dramatically--and uniquely--marked Hitchcock's transition to sound, since he wound up making both the "talkie" and a silent version for older theaters.
BH compares how Hitchcock handled certain scenes differently in the two versions, based on the different technology he had available. Likewise, BH convincingly argues that Hitchcock, though highly accomplished at silent cinema, used the shift to sound to make even greater use of his genius.
In the process, BH observes how themes and techniques he used in Blackmail would resurface in his later films. E.g. The use of chases, and voyeurism. It results in a compelling case that Blackmail was formative to his career and more typical of his work than people might realize. (Blackmail was a big hit in its day and is still well-regarded by Hitchcockians. But even though it's not as obscure as the likes of The Skin Game or Mr. And Mrs. Smith, it's nonetheless overshadowed by fancier classics like Rear Window, North by Northwest, etc.) Hence the title of the documentary, and all the clips from other Hitchcock films.
Although it would benefit from a more professional narrator (film critic Elvis Mitchell doesn't sound like he's done a lot of these), BH was an enjoyable look back at our favorite Hitchcock movies, and educational about Blackmail and Hitchcock's career circa 1930. I'm glad I already watched the movies they spoiled, though!
Because the doc is centered on an analysis of the movie Blackmail, I suppose one should expect the spoilers we get for it. But in the process, without warning, the program also gives major spoilers (including footage) from Sabotage, Psycho, Vertigo, Murder, and Stage Fright. (For the last two, it even gives away who the murderers are!)
From a critical standpoint, the spoilers do tie into the documentary's overall message. But it would've been a service to the audience if a warning had appeared at the beginning, especially about the last five films I mentioned.
If you've watched them and Blackmail first, you will probably enjoy coming back to see what Becoming Hitchcock (BH) has to say. Besides being a good film, Blackmail was historically important. Routinely held up as Britain's first sound film, it dramatically--and uniquely--marked Hitchcock's transition to sound, since he wound up making both the "talkie" and a silent version for older theaters.
BH compares how Hitchcock handled certain scenes differently in the two versions, based on the different technology he had available. Likewise, BH convincingly argues that Hitchcock, though highly accomplished at silent cinema, used the shift to sound to make even greater use of his genius.
In the process, BH observes how themes and techniques he used in Blackmail would resurface in his later films. E.g. The use of chases, and voyeurism. It results in a compelling case that Blackmail was formative to his career and more typical of his work than people might realize. (Blackmail was a big hit in its day and is still well-regarded by Hitchcockians. But even though it's not as obscure as the likes of The Skin Game or Mr. And Mrs. Smith, it's nonetheless overshadowed by fancier classics like Rear Window, North by Northwest, etc.) Hence the title of the documentary, and all the clips from other Hitchcock films.
Although it would benefit from a more professional narrator (film critic Elvis Mitchell doesn't sound like he's done a lot of these), BH was an enjoyable look back at our favorite Hitchcock movies, and educational about Blackmail and Hitchcock's career circa 1930. I'm glad I already watched the movies they spoiled, though!
Le saviez-vous
- GaffesDiscussing Alfred Hitchcock's cameo roles, the narrator says, "... and trying to climb aboard a train holding a cello case in L'inconnu du Nord-Express (1951)." In fact, Hitchcock is holding a double bass (bass fiddle) in its case.
- ConnexionsFeatures Blackmail (1929)
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langue
- Aussi connu sous le nom de
- TORNANDO-SE HITCHCOCK: O LEGADO DE BLACKMAIL
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
- Durée1 heure 12 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.78 : 1
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