Customer Reviews

Hitchcock

5 star:		(16)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

A fantastic concept for a film book that I cannot believe has not been used more often. Francois Truffaut asks all of the right questions and gets Hitch to open up on all of his films. Hitch opens up not only about the great ones, but also the misses (e.g., Under Capricorn, etc.). This is an especially great read when put together with Chabrol & Rohmer's book.

First off, I have four bookshelves from the floor to the ceiling covered with books about Alfred Hitchcock so I know it when I say it... this is the best book you'll ever read about Alfred Hitchcock and his movies. Notice I say his movies because the Grams and Wikstrom book is the book you need to read if you want to explore Hitchcock's television work. For the most part, this publication is one long lengthy interview and is approached from a director's stand-point. Truffaut explores every aspect and Hitchcok took the time to explore and explain why he did what he did in his films, from his cameo appearances to the trick shots. You'll learn what movies Hitchcock admitted he wanted to do and couldn't resolve the problems (like Phone Booth). This book comes highly recommended.

Griffith invented the film language, Hitchcock invented the MODERN film language. Any films made after the 60's (obvious examples being Early Spielberg, De Palma's films, The Bourne Identity etc.) are heirs to Hitchcock's proprietary language and style. This book (written by the most literate film person ever-Francois Truffaut) reveals the master's innermost thoughts about each and every one of his films. The only glaring omission is that he hardly mentions Bernard Herrmann, who was to Hitchcock what John Williams is to Spielberg. Fascinating reading.

This book is an excellent document of who Hitchcock's mind worked, picked apart piece by piece - film by film - by Truffaut, another bonafida master of the medium. Hitchcock is so assure of himself and his place, because his self-critique isn't so whitewashed and he admits to mistakes, admits to acts of brilliance and admits most of all that he was truly the genius filmmaker that every who has seen at least 3 of his films can attest to.

Detailed discussion on how shots were done in say, Psycho, Vertigo, The Birds. Script changes in Rebecca, Suspicion and Spellbound.

Hitch's method is unique and can't (nor shouldn't) be copied, but to understand it enriches a readers subsequent understanding of cinema who's career spanned from the Silents to the 1970s!!! And he left and indeliable mark on directing, and film-storytelling as whole.

The only other interview book that is as exhaustive in the craft of filmmaking are Peter Bogdanovich's WHO THE DEVIL MADE I.T. His THIS IS ORSON WELLES isn't a bad supplement either!!

It's really not that often that two very talented people in any field get together, talk about their work (successes and failures), and publish it for the world to see. I suppose that ego, pride, and envy are the reasons we have so few of these books to savor. I'm glad that Truffaut approached Hitchcock on this project. Film lovers are the better for it.

Truffaut's interviews with Hitchcock touch briefly on Hitchcock's early life before jumping right in to discuss the master's films. All of the director's important films are discussed, as well as some of the unimportant ones. Although the interviews were conducted in the 1960's, Truffaut does a good job of wrapping up Hitchcock's final films that are not covered in the interview.

My best compliment for the book: It makes you want to see the films again. And again. Hitchcock describes what went into some of his most famous scenes (the cornfield scene from "North By Northwest," the Madeline scenes from "Vertigo," and of course the shower scene from "Psycho"), problems with the films, interaction with actors...a wide range of aspects of making films. I was impressed by the admiration that Truffaut has for Hitchcock, but at the same time, the interviewer is not afraid to disagree with the great master. This is an open and honest document that film lovers will enjoy. My only complaint: I wanted more. I especially wanted to know more about Hitchcock's relationship with his actors. This aspect is touched upon, but I wanted a little more. A very enjoyable read.

True fans of Alfred Hitchcock pictures who know little about the man personally can get great insight into his character by reading Francios Truffaut's interviews. Mr. Hitchcock appears to have been a flawed genius who believed he always had the ability to create the perfect picture. Reading this made his comparison of actors and cattle make sense. Having now read several filmmaker-to-filmmaker interview books (Welles-Bogdanovich, Wilder-Crowe among them) I would not count this the best, but it is certainly among them. The book made me look deeper into Hitchcock's work and gave me new insight into all his films. What more could one who is interested this genre ask?

The parenthetical statement is in reference to Cameron Crowe's "Conversations With Wilder", which complements this revered tome aptly (as you can read in my review of that book). This book simply must be read by anyone remotely interested in Hitchcock or film in general. No filmmaker has ever discussed his total body of work in such detail, or with such wit and insight. Of course, no other director has a more impressive filmography: over 50 feature films in about 50 years, with many of them merely great, and several landmark films that stand above all others. Hitch's memory of the smallest details from decades before is astounding -- a true testament to his genius.

this book conveys two fundamental aspects of art: respect and friendship. it is clear from the opening introductory essay that truffaut genuinely loved, respected, and cared for the works of hitchcock, moreover, for the person behind the art. and in their discussions, it is all the more clear that genuine friendship and admiration occurred between the two. truffaut's questions are informed and probing, but above all, his enthusiasm for the films echo throughout. he carefully balances formal questions with his account of his own first impressions. hitchcock is lively, never condescending, with an air of immense pride for his works.

reading this book is like sitting in on a great conversation between two passionate people. it's a hard book to put down as every page is replete with great film stills and engaging discussions. truffaut covers the entire hitchcock oeuvre. for this, we should be grateful as he reminds us of the many number of works that are still widely unavailable and unseen.

the book opens with a sort of a manifesto by truffaut as to what great cinema should be. the discussions that follow fall along the paths that truffaut lays down: what is suspense, the role of arbitrary fate, the unreality of the cinematic image, and how to tell a good story. it ends with a thoughtful tribute, of truffaut's reminiscences of his last encounters with hitchcock. it's a moving portrait of the last years of a genius.

this book includes a helpful "bibliography" (cinemaography?) of every hitchcock movie.

a truely invaluable book for any cinemaphile.

I agree wholeheartedly w/ my fellow reviewers: this is one great book. It is absolutely essential reading for any Hitchcock fan. Readers learn a lot about the inside of these movies (many of them great, some good, a few not so good), but, given the immense talent, skill, and experience of both interlocutors (Hitch and Truffaut), we also learn much about moviemaking, period. If I was somehow forced to own only one movie book, this would be probably be the one. (Esp. since several of Maltin's reviews have been stinking it up in recent editions of his book.)

This is an important document in film history and scholarship and a fun, interesting read. Two great artists discuss film in general and Hitchcock's work in particular. The interview provides some interesting background facts about some of the films, revealing analyses, and some clues to the ideas and goals Hitchcock had when making his pictures. I would offer one caveat: after reading this book through several times, I confess that occasionally I suspect the veracity of a few of Hitchcock's remarks. Sometimes Hitchcock appears too agreeable to Truffaut's observations, endorsing statements that contradict what he's stated or suggested elsewhere. I don't mean to suggest that Hitchcock lied or behaved maliciously; I don't even mean this as criticism. I believe simply that in details that were of small importance to him, Hitchcock didn't bother to dissent, leaving Truffaut to believe as he liked. Also, they both occasionally get their facts wrong when talking about an older film, a mere failure of memory. It's helpful knowing these things going in; otherwise, no harm done-it's still a great book, one that should be read by every Hitchcock fan and anyone who's wanted to know a little bit more about any of his films.