US film director Stephen Soderbergh has cut together Alfred Hitchcock’s 1960 thriller/horror masterpiece Psycho, with Gus Van Sant’s not so well received 1998 remake, in an effort, possibly, to accentuate the best in both works.
If you have a spare ninety or so minutes take a look and see what you think. I’ve not seen Van Sant’s version, but it looks to be an exact – frame for frame – reproduction, which is a good thing as far as Soderbergh is concerned, his project may not have been possible otherwise.
The bank robbery scene from The Dark Knight set to the music of Alfred Hitchcock’s Vertigo. Watch and see what you make of it. And not long now until the final instalment in the Christopher Nolan directed series of Batman films, The Dark Knight Rises, arrives (opens in Australian cinemas on 19 July 2012).
Jeff Desom has stitched together individual scenes from Alfred Hitchcock’s 1954 thriller Rear Window to create a wider view of the scene viewable from L.B. Jefferies’ apartment. Watch for Hitchcock’s cameo at around the one minute ten second mark, on the righthand side.
A clear horizon and nothing to worry about… that’s how Alfred Hitchcock defines happiness. It’s a Monday, and it’s my first day back on deck after last week off. The more words of encouragement, the better.
“Vertigo” meanwhile may have gone by a completely different name had Hitchcock not held out against film studio executives who had conceived of 47 alternative titles, including “Cry from the Rooftop”, “The Mask and the Face”, and “Steps on the Stairs” (yes…), that they would have preferred the film be known as.
Personally I thought the parts of the “Vertigo” soundtrack used in “The Artist” – which are unmissable by the way – were well placed. Having “Vertigo” go by a different name however would have been a real violation.
If George Lucas, creator of the Star Wars sci-fi movie saga, is so intent on constantly altering his original work why doesn’t he remake the films instead, perhaps as Alfred Hitchcock did with “The Man Who Knew Too Much” in 1956, which he first made in 1934?
Of course the idea of re-writing, updating or altering is not new. Authors do it all the time, presenting a revised second edition and letting the first edition slip quietly out of print. Nor is the idea of re-working old material, it happens all the time, even with classics. Kate Bush did just that with her album Director’s Cut earlier this year. But in most cases enterprising fans can find a copy of the original version, or, if there’s enough consumer demand, original versions are made available by a publisher who will typically own the rights. Not so with Star Wars. The rights belong to George Lucas. But should they?
While remakes wouldn’t please everyone they would have allowed the originals to remain untouched, while fulfilling Lucas’ desire to realise his “original” vision in regards to the saga.
A wild, atmospheric melodrama starring Betty Compson in a dual role as twin sisters, one angelic and the other “without a soul,” the lost film turned up among the cache of unidentified American nitrate prints safeguarded for the last 23 years by the New Zealand Film Archive. So far, only the first three reels of the six-reel feature have been found; no other copy is known to exist.