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Hitchcock ****

Hitchcock. Drama with a touch of comedy on the set of Psycho. Hopkins and Mirren outstanding. Interesting biopic.

Honor the master of suspense while humanize him. That might seem to be the main objective of Hitchcock, but below it inhabits much more subtle: a lesson on film, specifically films of Alfred Hitchcock. The film recovers numerous details understand how storytelling for film master. Even dares even to weave a portrait of the protagonist initially twilight was a key moment in his career when his classic cinema began to stagnate in the same keys and he wanted out of that kind of jam on the same formulas to retrieve the freedom to experiment with the language of film that did not allow the Hollywood studios for working. That was how he came to Psycho, and so as would plant face young talents of the new terror that emerged in the late sixties and early seventies, the George A. Romero Night of the Living Dead, Roman Polanski in Repulsion and Rosemary's Baby, Wes Craven Last House on the Left,... by showing that it could be as scary as they simply playing with the concept or not disclose crimes Frenzy. Always working astutely the importance of managing information that is provided to the viewer.

Addressing this stage of twilight apparent that as mandated Alfred Hitchcock film history turns on its outcome to become inevitable reunion fable of success with the release of Psycho (no spoiler it no surprise, since everyone mildly interested the film is fully aware of the tremendous echo that was the premiere of the film), the director Hitchcock also offers us clues about how he conceived and developed their projects. We find in this comedy drama with a touch of an attempt to bring the biopic to use a little beyond. So your questions are addressed as the creator, so well expressed in this compulsive need to attack the fridge while feeling concerned about their weight. His need to be in some way part of the story, which appeared in Hitchcock visually expressed their cameos in movies and director Hitchcock cleverly solves playing in reverse, that is, making it the serial murderer Ed Gein, inspiration for Norman Bates in Psycho, who makes a cameo dream clearly cutting and the application of psychoanalysis to reflect both cost Alfred Hitchcock in Spellbound, despite having decorations created by the painter Salvador Dalí. And in that way of direct involvement in the stories he told, to somehow become part of the same, it also offers us the detonator of these compulsions shameful that moved the Alfred Hitchcock film, these guilt complexes and those scapegoats , that feeling that paranoia and persecution of its protagonists, showing how much the fear of alleged infidelity of his wife, Alma Reville, his compulsive obsession associated with almost adolescent female stars he worked with (another way of being part their stories), elegantly expressed voyeur watching these scenes photos and peering at hole in the wardrobe of the stars, were also part of his understanding of cinema: as a show of evasion that somehow kept him in youth. The case is interesting because just look slightly to the stories of Alfred Hitchcock's the wrong man and relate stories of Fritz Lang guilt to conclude that the former addresses this issue from a teen point of view and evasion, while for the second guilt and redemption are themes worthy of an approach from maturity.

In an exercise in consistency with the subtle and elegant discourse not only about the making of Psycho, but above all the movies of Alfred Hitchcock, the film offers us the same casual tone, evasion, almost adolescent in its superficiality, to address this story jealousy, love, misunderstanding and that star reunion of two of the brilliantly most gifted actors of our time. Even if you do not like the movie of Alfred Hitchcock and have never seen Psycho, deserves also worth going to see the movie just to see that pulse dramatic and interpretive maintaining and Helen Mirren Anthony Hopkins, in which, by its weight in the history and development of his character, I think I finally narrowly wins her points, but where he develops an exercise in interpretation and weighting considerably more complex, rather than supported, by a makeup trying, unsuccessfully, give an impossible hithcockian air to your appearance.

I've heard quite pilgrim reviews claiming that the film fails because make-up fails to create an image of Alfred Hitchcock physically perfect. These comments are an example of the limitations of mind and lightness of opinion that is generating an abuse of computer generated visual effects. More and more often I hear comments about the visual effects in movies about where you should be commenting on the construction of the story, the actors' work, planning and camera choreography, really really interesting cinematic language in effects which take the place of a secondary tool for counting. Such obsession because Hopkins is Hitchcock nailed it unnerving because I think an example of any opinion or diverted to the superficial and unimportant.

So no, notice and that makeup that looks Hopkins in this movie does not turn into a perfect clon of Alfred Hitchcock. No need, because the creation of Hitchcock is in the great work of the actor, which captures the spirit of the character to the point of being able to do both comedy and drama under the skin that gives alien makeup, whose function is simply provide a slightly rough appearance to the famous director but at no time intended to turn him into a perfect physical copy of it. The Hopkins Hitchcock lives in his work as an actor, not your makeup, lives on his way to emulate the original speech, in the way he moved, but especially in his understanding of life.

So they are not superficial when judging a great job of Hopkins as an actor and not fall into the trap of famous trees do not lose the forest.

Hopkins and Mirren do a great job backed by an excellent cast among the most side of the frame, and the pace of the story deserves shop around and look out the film this amazing display of biopic that tells you much more than the filming of Psycho.

Miguel Juan Payán

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