Word: hitchcocks
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Dates: during 1960-1969
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...Your story recalls an incident that occurred during my visit there eight years ago. Late one afternoon, I saw a poster announcing that the film to be shown that night was Psycho-Alfred Hitchcock's shockingly violent story of a maniacal killer. I envisioned the awful effects on Geel's paranoids and schizophrenics who dutifully attended the weekly shows...
HOLLYWOOD: THE SELZNICK YEARS (NBC, 10-11 p.m.). Henry Fonda narrates this special on the career of Movie Producer David O. Selznick with some rarely seen film clips and comments from Ingrid Bergman, Katharine Hepburn, Rock Hudson, Joseph Cotten, Alfred Hitchcock, Janet Gaynor and Dorothy McGuire...
...freezes the image in the middle of an action or plays with enlarging the size of the frame, Truffaut makes technique serve the story and never overwhelm it. He enjoys staging little jokes (the tea-drinking scene with the owner's wife is an unabashed tribute to Hitchcock), but they remain always in context. Many of the characters in Stolen Kisses and much of the action may be embellished, but it is all based and modeled on Truffaut's life. His is, therefore, personal cinema of the best kind, memory shaped by humor and artistry into warm...
...innocence. The 400 Blows and Jules and Jim were about the destruction of innocence. Shoot the Piano Player and The Soft Skin described its dangers, and Fahrenheit 451 was its vindication. Even last year's The Bride Wore Black (TIME, July 5), a hard-edged homage to Hitchcock, contained much of the director's characteristic compassion for its driven, doomed characters. Stolen Kisses is Truffaut's newest and gentlest film, a lovely memory of adolescence that begins with the delight of youth and ends with the promise of a melancholy maturity...
...prefer the romantic perception of Soft Skin, Truffaut's best film to date. But you have to give him points: the scenes between Julie (Jeanne Moreau) and the artist (Charles Denner) blend exposition and characterization as cinematically as anything this side of Chabrol. Also Truffaut's obsession with Hitchcock has finally left the realm of shot-copying, resulting in some interesting notions about audience identification, point-of-view cutting, and flashback structure...