#186. The Birds (1963)

 

 

Prior Viewings: 1

 

Surely, this script, about birds that suddenly lose their minds and start terrorizing a small town for seemingly no reason, is the silliest one Hitchcock ever attached himself to, right? Like, it's the kind of concept that probably should've led to an all-time disaster (a la Birdemic), or at least been remembered as little more than a bizarre curiosity.

 

But The Birds isn't a bizarre curiosity, and that's because it's in such seasoned and capable hands. Hitch combines mysterious atmospherics, clever set pieces, and that patented mastery of suspense (a good example: his decision to rely on realistic sound design instead of a conventional score) to lend a world of credibility to this premise. And the result is one of the most vicious films of his career.

 

Here's how you know it's a genuine winner, though: even if you were to remove every single bird, you'd still be left with a compelling, cozy (there's a lot of lighthearted rom-com energy here, and I just love that quiet coastal setting), and slightly deranged movie about sexual longing and familial relationships. The character drama is as compelling and effective as the horror elements, which makes the eventual bird attacks feel seamless as far as tone, conflict, and overall consistency go.

 

Now, does it ever actually add up to anything? I'm honestly not sure (though the lack of answers/closure definitely contributes to the eerie effect), but, either way, I enjoyed this rewatch enough to place the movie just outside of its director's top tier.

 

Grade: A

 

P.S. The surviving members of that town should count themselves lucky that geese weren't involved. Take it from a Canadian: those fuckers are ruthless.

 

#8. Strangers on a Train (1951)

 

 

Prior Viewings: 1

 

I think a lot of the best thrillers often have simple concepts. Maybe that's because they tend to be more relatable, or maybe it just makes for more streamlined storytelling. Either way, Strangers on a Train is about as simple as it gets (to the point of being parodied many times over), which is what allows the suspenseful set pieces to take center stage without much fat getting in the way.

 

Also, the movie's directed by some guy named Alfred Hitchcock, who, not to tell any tales out of school or anything, wasn't too bad at making an effective thriller. You can see it in his pacing, in his moody lighting (this might be his most visually appealing black & white endeavour), and in his cheeky sense of humour, but I think you can also see it in his understanding of "moments". And this one's got three of his very best: the murder as reflected in the sunglasses, Bruno staring at Guy amid a sea of head-swinging tennis onlookers, and the exciting carousel climax. Granted, nearly every scene is inventive and entertaining to some degree, but these moments are where you start to understand why everyone refers to him as The Master. 

 

Grade: A