5 Underappreciated Hitchcock Movies

Here’s another post that has been on my mind for a while. Quite often, I hear people mentioning “Vertigo”, “Rear Window” and “Psycho” as soon as we start talking about Alfred Hitchcock. But here’s a man that directed 57 movies over the course of 54 years. Having watched most of these movies, I’ve decided to list a few “underappreciated” ones. How many of those have you seen?

 

Strangers on a Train (1951)
This was my very first encounter with the master of suspense. My mom got me an Alfred Hitchcock box-set for my 19th birthday, and I couldn’t wait to discover what was in there. Out of all the movies that I watched back then, “Strangers on a train” remains my favorite: a tense, masterful thriller that should rank as one of Hitchcock’s best work. In telling the story of how two strangers agree to kill someone the other person wants gone, Hitchcock keeps you on the edge of your seat the entire time. There are twists and turns, as you would expect from the master himself, and the climax is incredibly entertaining. If you’re still discovering old films, I highly recommend this one.

 

Shadow of a Doubt (1942)
One of Hitchcock’s own personal favorite films, “Shadow of a doubt” is a movie that deserves more recognition in my opinion. Joseph Cotton was still fresh out of “Citizen Kane” when he was chosen to play good old uncle Charlie, who is visiting his relatives in a small American town. Soon enough, his niece begins to suspect that he may be…wait for it… a killer on the loose! A psychological thriller through and through, “Shadow of a Doubt” is more proof that Hitchcock could easily manipulate his audience, keeping them on the edge of their seat until the credits start rolling. It’s a fantastic film from start to finish.

 

Saboteur (1942)
Before 1959’s “North By Northwest”, there was “Saboteur”, another tense film that features a man who is wrongly accused of sabotage. This leads to a relentless chase across the country in order to clear his name. Talking about this underrated gem, Hitchcock said “It’s what strikes the eye that leaves the most lasting impression on moviegoers”. Indeed, the film features elaborate settings and an incredible climax atop the Statue of Liberty that is truly unforgettable. It’s a great film that needs to be rediscovered by movie buffs.

 

 

Frenzy (1972)
After a hugely successful 30 years in Hollywood, it was time for Hitchcock to return to England, and what better way to celebrate his return than this terrific gem? This is the first Hitchcock film to earn an “R” rating, and he made it count. There’s a sex criminal known as the Necktie Murderer roaming around 1970’s London, and it’s up to, yet again, a wrongly accused man to find him. “Frenzy” is a delicious mix of suspense and black comedy, and it features one of the most brutal murder scenes I’ve seen in a Hitchcock film. Not for the faint of heart, for sure, but it’s one of his best movies in my opinion.

 

Suspicion (1941)
Hitchcock had a very busy few years in the early 40’s, directing the Oscar winner “Rebecca” while working on so many other projects. “Suspicion” might strike you as something that could have been shot in 2 weeks, and understandably so. But it’s also very effective, making it a definite must-see in my opinion. Cary Grant was still a rising star at the time, and he’s excellent as a playboy who marries a vulnerable woman (Joan Fontaine), only for her to start suspecting that he wants to kill her. It’s unusual to think of Cary Grant as a killer, and that’s what makes “Suspicion” so intriguing to watch. I’ve seen it over a decade ago and I still consider it as one of the master’s most underrated films.

Germany Year Zero [1948] ★★★½

Roberto Rossellini’s “Germany Year Zero” is a frightening portrait of post-WWII Berlin, from the point of view of 12-year-old Edmund, who lives with his family in terrible conditions. The war may have ended, Hitler’s third Reich has fallen, but Berlin has never been more miserable. Edmund’s only concern is to provide food for his bedridden father, while his brother, a former Nazi soldier, must live in hiding or handle the consequences. Rossellini, famous for his War trilogy, which featured “Rome Open City”, “Paisan” and “Germany Year Zero”, wanted to show a nation in ruins, and to say that he has succeeded would be an understatement. This is a haunting piece of work, beautifully shot, masterfully directed, and featuring a superior performance by young Edmund Meschke. I absolutely recommend it.

Rome, Open City [1945] ★★★½

Italian filmmaker Roberto Rossellini kicked off his so-called “war trilogy” with “Rome, Open City”, a harrowing look at Rome during the Nazi occupation of 1944. Though the events that take place in the movie are strictly fictional, Rossellini knows exactly how to deliver an authentic experience. The main character here is Don Pietro, an Italian priest who finds himself helping the leader of the resistance, Giorgio Manfredi, who is wanted by Nazis. Rossellini builds up tension as we follow these character’s journey into the unknown. The mood and atmosphere of the movie are reminiscent of American film noirs of the early 1940’s, and that’s probably one of the main reasons why I loved this movie so much. Rosselini does a fantastic job in capturing WWII Rome with a dreadful mood, keeping his audience on the edge of their seats from start to finish. If you want to watch a master at work, I highly recommend “Rome, Open City”.

White Heat [1949] ★★★★

white-heat.19995 I’ve fallen in love with gangster films made in the 1930’s. Actors like James Cagney, Edward G. Robinson and Humphrey Bogart were in almost every gangster picture made in that era. And yet it took director Raoul Walsh years before making one of the best gangster films of all time. Cagney was an ageing star but his performance is nothing short of phenomenal as a mother obsessed psychopath who breaks out of jail to plan a heist. Walsh masterfully orchestrates some of the best prison scenes I’ve ever seen onscreen. Not to mention a fair amount of character study, depth, and a heart pounding finale. If you’re a fan of gangster films, consider “White Heat” a must see. Also, if this your first James Cagney movie, you may enjoy “Public Enemy”, “The Roaring Twenties”, “Lady Killer”, “Picture Snatcher” and “Each Dawn I die”, all made in the 30’s.

 

Rating: 4/4

Double Indemnity [1944] ★★★★

 Double-Indemnity-PosterThe quintessential film noir. No other film of the genre can match the brilliance of Billy Wilder’s haunting tale of greed, murder and betrayal. Driven by its masterful techniques and perfect narrative, “Double Indemnity” tells the story of an insurance salesman (Fred MacMurray) who falls for a beautiful but deadly oil tycoon’s wife (Barbara Stanwyck) and together they plot to kill off her husband for the insurance money. Sounds like an ordinary story. But there’s nothing quite ordinary about Wilder’s breathtakingly tense and suspenseful movie. If you’re just discovering film noir, “Double Indemnity” more than fits the bill. It’s easily one of the best movies of the 40’s and one of my all time favorites as well.

Rating: 4/4

Kind Hearts And Coronets [1949] ★★★★

I can’t beginPoster - Kind Hearts and Coronets_03 to describe how funny this movie is. I haven’t recommended a classic movie in quite a while, but “Kind Hearts and Coronets” seemed like a good way to start again. Alec Guiness is brilliant playing not 1, not 2, but 8 characters (!) in this hugely entertaining black comedy about a poor, distant relative of the rich D’Ascoynes who must murder eight members of the family to obtain the title and fortune he believes are his right. Robert Hamer’s direction is nothing short of masterful as we witness one family member after the other being killed off in hilarious manners. The movie may seem a bit tasteless to some, but make no mistake: this is one of the best black comedies ever made. If you love Alec Guiness (and who doesn’t), add this one to your list of must sees. What a treat!

Rating: 4/4

Rebecca [1940] ★★★★

In 1940, Alfred Hitchcock came to Hollywood to direct what would become one of his greatest achievements. Yet it is somewhat surprising that despite his long career, only “Rebecca” earned him an Academy Award for Best Picture. Producer David O. Selznik, hot from the huge success of “Gone With The Wind” a year earlier, seized the opportunity to work with Hitchcock, pairing the director with Daphne Du Maurier’s gothic ghost story. I can recall a number of Hitch’s films, such as “The 39 Steps” and “North By Northwest”, in which the hero and the heroine end up falling in love, but are nevertheless essentially suspense films with an element of romance. “Rebecca” on the other hand, is strictly a romantic story with elements of suspense. A seaside estate (later the inspiration for Orson Welles’s Xanadu mansion) is the setting for the romance between Joan Fontaine and Laurence Olivier. They marry after a brief encounter, but as their relationship deepens, Fontaine is more and more haunted by the spirit of his dead wife, Rebecca. In a way, this is a ghost story, although not in the literal sense. The mansion may not be literally haunted, but it is permeated by Rebecca’s spirit. Innocent Fontaine is nearly driven to madness by the dark secrets of this huge mansion, but Hitchcock is more than happy with letting the tension build toward the unforgettable conclusion.

It doesn’t surprise me one bit that “Rebecca” won Best Picture and Best Cinematography at the Oscars that year. It was up against “The Letter”, “The Philadephia Story”, “Grapes Of Wrath”, and ironically, Hitchcock’s final british film “Foreign Correspondent” (all of which were excellent pictures). And despite the fact that it was David O. Selznick who took that Oscar home (Hitchcock never won an Academy Award for directing), Selznick will always be remembered for “Gone With The Wind”. Now “Rebecca”- that was Alfred Hitchcock’s work.

Rating: 4/4

Abbott And Costello Meet The Killer, Boris Karloff [1949]

Like their earlier movie “Who Done It?”, Abbott and Costello find themselves once again investigating a murder. And despite the title being a bit misleading, this is among their finest work. No, Boris Karloff is not actually the killer here, as he is only a supporting character. I guess putting his name in the title was deceptive and made this appear to be a horror flick, while it’s actually a murder mystery (which is totally fine by me). Legend has it that the movie was originally titled “Abbott and Costello Meet The Killers”. The “s” was dropped to avoid confusion with the 1946 drama “The Killers”. The plot: While working at a secluded resort, goofy bellboy Freddie Philips (Costello) stumbles onto a stiff. Now suspected of commiting the murder, Freddie taps detective Casey Edwards (Abbott) to help prove his innocence. But first, they must deal  with the mysterious Swami Talpur (Karloff), a hypnotist who’s out to make Freddie the fall guy. You can see that poor Lou is going to have a hard time trying to prove his innocence, especially when dead bodies keep popping up wherever he goes (which made this comedy even more hilarious).

No great analysis is needed for a film like this; fans of the duo should be more than pleased with it. The movie has some nice set pieces in it, mostly handled brilliantly by Costello- such as a drag sequence where he attracts an admirer, and has to play cards with a corpse! But the movie works very well as a whodunit mystery aswell; a ream of characters, all acting oddly, come and go to keep the viewer guessing right through the closing credits. Another classic A&C comedy!

Rating: 3/4