Mini-Tour of Alfred Hitchcock's 'Vertigo' Locations

James Stewart in San Francisco for 'Vertigo'

I made a video recently showcasing some of the locations featured in Alfred Hitchcock's 'Vertigo', and the video made its official debut last week on TCM's Movie Morlocks. 

Filming at The Hotel Vertigo

Making this video was geographically sensible... since I live very near these spots! I also figured fans of 'Vertigo' who are not living in San Francisco would enjoy a closer look. 

Hotel Vertigo chair 

My very talented friend and fellow blogger, Kimberly Lindbergs –– of the ultra fabulous Cinebeats –– writes for Movie Morlocks, and she asked me if she could feature the video on TCM's blog once I'd finished it. I wasn't expecting that added incentive, and I didn't anticipate being interviewed about some of my other video adventures. Somehow, it all came together! 

'Vertigo' graphic mirror at The Hotel Vertigo

Here's the mini-tour video :)

For her Movie Morlocks piece, Kimberly even added this photo & we discussed my 'Rear Window' theme from Halloween 2009 :)

'Rear Window' for Halloween

I hope you enjoy the interview and the video. And be sure to check out the other solid & fresh hits on Cinebeats and TCM's Movie Morlocks, if you haven't already.
On Location with Alfred Hitchcock's 'Vertigo'

Alma & Alfred Hitchcock: The Dynamic Duo

During a summer trip a couple of years ago, I began to read "Hitch: The Life & Times of Alfred Hitchcock" by John Russell Taylor. I'd found the book some time ago and was glad to finally begin reading all about old Hitch.

Inside my (used) copy, first published in 1978, I found a page torn out of a British magazine, 'Country Homes', with listings and markings from the previous owner of the paperback. So this particular copy had made the rounds in Hitchcock's native England before finding its way to me in San Francisco. That was the first bit of intrigue in reading it. I felt as if it was left there for me to try to unveil a mystery of: who had this book before me? And what did that torn page with home listings mean? But that's getting into Agatha Christie territory.

The second bit of intrigue about this book was that the man who wrote it, John Russell Taylor, a critic, actually wrote the biography with direct cooperation of Alfred Hitchcock himself... as well as Hitchcock's inner circle. Since the book was written in the 1970's, it seems odd and interesting to observe how the writer refers to his friend, Hitch, in the present tense. And that also made for some fascinating insight into a rather mysterious person. 

The third bit of intrigue that came to pass was – and is – by far my favorite. That one is about Alma Hitchcock. I knew very little about her when I started reading, apart from knowing she had a good deal of involvement in the making of her husband's films. So everything about her was already of a heightened level of interest for me. 

I discovered that Alfred Hitchcock fell in love with Alma Reville, whom he'd met at a British film studio called Balcon-Saville-Freedman, where she was a film editor. She was editing films at the age of sixteen and needless to say, that was it for me. I was in complete adoration of Alma from at that point on. As was Alfred Hitchcock, for his entire life.

I even noticed now a striking resemblance between Alma and Joan Fontaine's character, Lina, in Suspicion (one of my all-time favorite Hitchcock heroines & plot.) 

Joan Fontaine as Lina in 'Suspicion'

People have so often noted Hitchcock's fascination with those memorable cool blonds who occupied his films, but his lifelong love was reserved for his own 'Monkey Face', Alma. On that note, how remarkable is it, even, that Alma Hitchcock was such a noteworthy filmmaker in her own right, decades before women were carving the slightest presence for themselves in the work force?

Alma Hitchcock was a very special lady, indeed. She is a great example of 'the-woman-behind-the-man'. In her case, much of what we equate to Hitchcock's genius was in part because of her talents and contributions.

Alma Hitchcock, the woman behind the man

Having been rather smitten with their story, my own husband recently shared the news that a movie is now in production called 'Alfred Hitchcock and the Making of Psycho' (not a very elegant title) in which Alma will be depicted alongside Alfred. And rightfully so.

Soon the general public will finally get to know more about the Hitchcocks' fascinating work relationship and marriage.

Suspicion (1941)

Retro Active Critique #20

The story of 'Monkey Face' and ol' Johnny. Believe it or not, 'Suspicion' happens to be the most romantic Hitchcock film for me.

I have a suspicion this will be one of the last times I'll feature a Hitchcock film on this blog. I've only recently written an appeal for The Man Who Knew Too Much and before that I'd posted about my loving costume/character attempt at Rear Window last Halloween. I love Hitch, but it isn't my intention to retro-actively appreciate films, music, personalities, etc. that still manage to garner attention on their own in our extreme mass output culture. Rather, I've intended for my focus to be on appreciating and giving a little push to those we have waiting for some notice in our collective archives.

On that note, 'Suspicion' rounds out (or squares out, as the case happens to be) my favorite four films of Alfred Hitchcock: the ever-perfect (flawless) cinematic experience of 'North By Northwest'; 'Rear Window', perhaps the finest of his thrillers, if only for its all-encompassing simplicity; the often overlooked but deeply pleasing 'The Man Who Knew Too Much'; and the breezy, far-ahead-of-its-time charm of 'Suspicion'. 

The direction of this film is superb and cutting edge for 1941. The script and dialogue is as sharp as you'd expect if you've watch films of this era –– and a revelation if you haven't –– with its intoxicating wit, energy and charm. The supporting cast is also great. Nigel Bruce as the bumbling Beaky is particularly fun, with his 'old boy', 'old girl' & 'old chap' capped utterances. 

Joan Fontaine is lovely to put it simply. There is no other way to describe her as she plays the mousy but alluring Lina. I am not sure why, exactly, but hers stands as one of my favorite performances –– ever –– in this. She won a deserved Oscar for playing Lina. 

Cary Grant is as perfect as ever as the 'no good, but how can you not love him' Johnny. He is so funny, warm and charming it's understandable why an intelligent woman like Lina would fall for him, despite his (seemingly) obvious shortcomings.

Their playful moments together are touching and amusing. You'll find yourself rooting for them at all costs. For 'Monkey Face' to have a life with Johnny there are indeed costs. But they seem to be worth it. 

And it's definitely worth checking out this seventy year old film! If you'd like to refresh your film queue with something 'new' don't be misled by this film's age. 'Suspicion' is still incredibly fresh and it's not to be missed.

The Man Who Knew Too Much (1956)

Retro Active Critique #18

Everyone has their favorite one, or even a long list of them. Alfred Hitchcock's films are infinitely satisfying and there is no lack of enthusiasm for his body of work from cinephiles and more mainstream folk, alike. My intention in plucking "The Man Who Knew Too Much" from Hitch's magnificent oeuvre is to shine a light on one that has been among my personal favorites (alongside "Suspicion", "North By Northwest" and "Rear Window"), yet somehow receives far less attention than, say, "Vertigo". Again, this is my personal take, but "Vertigo" is not quite as satisfying, clean or streamlined in terms of storytelling as its less-revered kin, "The Man Who Knew Too Much". But this post isn't about drawing a comparison. Rather, it's a reminder to those who may be interested that this is also one to watch.

Several components in "The Man Who Knew Too Much" have made it stand out for me. I've always been drawn into it very deeply –– it's mesmerizing. This film, as many are aware, is actually a remake of Hitchock's earlier version from 1934. That in itself is a rarity. Hitch realized he had a story that could be revisited and improved upon in many ways later on in his career. That commitment to storytelling is admirable. And this later version is indeed successful in so many ways. I imagine that in the year 1956, to have actually filmed it in an exotic location like Marrakesh, Morocco (and in vivid Technicolor, no less), this one must have looked absolutely ravishing to the viewers' eyes. The fact that the images are still stunning today, having held up for decades, is even more impressive. Every aspect of this film holds up –– (all but the wardrobe, which feels charmingly dated.) The plot, its movement, the characters, the dialogue, relationships and acting are all solid and fresh, still. This is how I wish movies would always feel, with its fine balance of movement and story.

Doris Day, herself, is a revelation here. She is a performer who had something people resonated with in her time, but her appeal doesn't necessarily translate now. Despite finding Ms. Day entertaining in her own (somewhat stiff and unique) way, I had never quite taken her seriously –– until I watched this film. The scene when her husband, a doctor played by Stewart, carefully tells her the terrible news about the disappearance of their son –– but only after cajoling her into taking a sedative, first, before he's willing to speak to her (a fabulous scene altogether) –– she is utterly believable and heartbreaking in her feverish, hysterical response. Hers remains a surprisingly raw performance.

Speaking of which, what could be more terrifying or suspenseful that realizing your child has been taken from you –– especially while you are so far from home? The simplicity of this emotionally driven quest for the protagonists is much more compelling than any complicated thriller. After all, Alfred Hitchcock was himself a parent and a man whose very intimate, lifelong relationship with deep anxiety made for a career in provoking feelings of suspense within his ever-captivated audience. So he knew enough to know that "The Man Who Knew Too Much" would be the ultimate story to tell. So much, in fact, that he had to tell it twice! And with that, perhaps I've made my case. Watch it for yourselves and thank me later.

Rear Window - Grace Kelly & James Stewart for Halloween 2009

We dressed up as James Stewart (L.B. Jefferies) & Grace Kelly (Lisa Fremont) in a classic scene from 'Rear Window'.

Maybe Hitch would have been pleased with our efforts. We certainly had a lot of fun with this character-driven homage to 'Rear Window' for Halloween!