I’m not sure if this is a bunch of random connecting-of-the-dots on my part, but Alfred Hitchcock's films and his influence are rising in popularity as of late. Approximately thirty years after his death, his library of 60+ films understandably have become a reference point for movie-goers and filmmakers. While the Criterion Collection keeps reminding us that there are several reasons to go revisit his work on home video (my favorite is the re-release of The Lady Vanishes), we find studios, producers, directors and screenwriters are referring to his work in a blatant ways.
Take for example, last week’s homage from one film great to another. Such as the high-end BMW film-commercials, someone came up with the novel idea of bringing Martin Scorsese along for a truly witty tribute to the master of suspense. The Frexinet commercial (view here) plays with many of Hitch’s cinematic style signatures and obviously references his 1946 film Notorious – for obvious ‘pop’ular reasons.
While at the past Toronto film festival I came across a film that didn’t necessarily swipe from Hitch’s tool box it certainly reminded me of his brand of humor. With a little arsenic for good measure, Ira Sachs’ Married Life merged a 40’s look with cheating adults and murder plots – very Hitch.
Major studios are getting into the act as well – Universal is teaming short-haired blond Naomi Watts with Casino Royale-helmer Martin Campbell for a remake of The Birds , and currently in production Sony’s Stage 6 Films is behind filmmaker David Ondaatje’s take on The Lodger – the same novel from which Hitch made his directorial debut. Look for our exclusive interview (packed with goodies) with Ondaatje tomorrow.
