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Hitchcock (2012)

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2:40 | Trailer
The relationship between Alfred Hitchcock and his wife Alma Reville during the filming of Psycho (1960) in 1959 is explored.

Director:

Sacha Gervasi

Writers:

John J. McLaughlin (screenplay), Stephen Rebello (book)
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4,928 ( 938)
Nominated for 1 Oscar. Another 5 wins & 28 nominations. See more awards »

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Cast

Cast overview, first billed only:
Anthony Hopkins ... Alfred Hitchcock
Helen Mirren ... Alma Reville
Scarlett Johansson ... Janet Leigh
Danny Huston ... Whitfield Cook
Toni Collette ... Peggy
Michael Stuhlbarg ... Lew Wasserman
Michael Wincott ... Ed Gein
Jessica Biel ... Vera Miles
James D'Arcy ... Anthony Perkins
Richard Portnow ... Barney Balaban
Kurtwood Smith ... Geoffrey Shurlock
Ralph Macchio ... Joseph Stefano
Kai Lennox ... Hilton Green
Tara Summers ... Rita Riggs
Wallace Langham ... Saul Bass
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Storyline

In 1959, Sir Alfred Hitchcock (Sir Anthony Hopkins) and his wife, Alma Reville (Dame Helen Mirren), are at the top of their creative game as filmmakers amidst disquieting insinuations about it being time to retire. To recapture his youth's artistic daring, Sir Alfred decides his next movie will adapt the lurid horror novel, "Psycho", over everyone's misgivings. Unfortunately, as Sir Alfred self-finances and labors on this movie, Alma finally loses patience with his roving eye and controlling habits with his actresses. When an ambitious friend lures her to collaborate on a work of their own, the resulting marital tension colors Sir Alfred's work, even as the novel's inspiration haunts his dreams. Written by Kenneth Chisholm (kchishol@rogers.com)

Plot Summary | Add Synopsis

Taglines:

Behind every Psycho is a great woman. See more »


Motion Picture Rating (MPAA)

Rated PG-13 for some violent images, sexual content and thematic material | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA | UK

Language:

English

Release Date:

14 December 2012 (USA) See more »

Also Known As:

Hitchcock See more »

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Box Office

Budget:

$15,700,000 (estimated)

Opening Weekend USA:

$287,715, 25 November 2012

Gross USA:

$6,008,677

Cumulative Worldwide Gross:

$23,570,541
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Richard Linklater, Mark Romanek, Tyler Perry, Spike Lee, Louis Letterier, and Julian Fellowes all showed serious interest in directing this movie. See more »

Goofs

When Hitch is in the meeting with the censors, the stenographer is clearly faking the keystrokes. See more »

Quotes

[first lines]
Henry Gein: It's lucky it didn't reach the house.
Ed Gein: Yeah.
Henry Gein: You know, there's gonna be a lot more jobs at that factory in Milwaukee come June. I could put in a word.
Ed Gein: You can't leave us, Henry. She needs us both.
Henry Gein: Can you stop being a mama's boy for one second? I'm not trying to hurt you, but Jesus, you gotta live your own life sometime. That woman can take care of her own god...
[Ed hits Henry with a shovel]
Alfred Hitchcock: Good evening. Well, brother has been killing brother since Cain and Abel, yet even I didn't ...
[...]
See more »

Crazy Credits

As Hitch addresses his audience at the end of the picture, he tells us that he is bereft of ideas for his next picture... then a large, black bird lands on his shoulder. See more »

Connections

References Touch of Evil (1958) See more »

Soundtracks

You're the Only One for Me
Written by Alan Ett and William Ashford
Performed by and Courtesy of The Music Collective
See more »

Frequently Asked Questions

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User Reviews

Hopkins is Hitch.
6 December 2012 | by jdesandoSee all my reviews

"That blonde woman of mystery you're after. She's a fantasy. She doesn't exist." Vera Miles (Jessica Biel) to Alfred Hitchcock

A chance that the representation of the eccentric Alfred Hitchcock would be just caricature is high, given his odd appearance, distinctive speech, and off-center personality. Fortunately Anthony Hopkins imitates him enough to be a believably historical character and to invest his own forceful personality.

Hitchcock is a satisfying glimpse into the genius's marriage to Alma (Helen Mirren) and the creation of his greatest screen triumph, Psycho. The unreality is Mirren's glamorous; Alma was plain.

Because of Hitchcock's mid-20th century appearances on his TV show, he may be more recognizable, even now, than Steven Spielberg. Anthony Hopkins and director Sacha Gervasi stay close to the facts as I know them, from his preoccupation with blonde leading ladies to his reliance on Alma's advice about actors, scripts, and edits.

The shenanigans surrounding the censorship of the shower scene in Psycho and the multiple cuts (so to speak!) that make it iconic are faithfully presented. Lessons can be learned about the power of the early censoring agency and the details like nudity and plunging a dagger into a woman that could keep a film out of the theaters. That week to complete the shower scene is an effective primer for those who don't understand the patience necessary to make a classic film.

New to my understanding of the director is his affection for Alma, almost tearful on our side and his, and the civil way he treated Janet Leigh. No need to show his callous treatment of The Birds' Tippi Hedrin, whose career he shortened when she refused his advances.

Let me close by saying a kind word about Helen Mirren as long-suffering Alma—Mirren plays her for an intelligent forgiving companion with her own emotional needs partially fulfilled by writer Whitfield Cook (Danny Huston), who obviously loves her but gets no chance to make love to her.

As for the film itself, it's less a love letter to the director than a depiction of a gifted man who became the master of suspense not without his own measure of personal drama:

"And so, gentle viewer, Psycho—the picture everyone predicted would bring me to wreck and ruin—was such a hit that Alma and I got to . . . Well, let's just say that we got to keep our house—and the swimming pool. And the same critics who despised it went on to call it one of my greatest achievements. Of course, for me, it was just another "moo-vie.'" Hitchcock


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