Monday, April 16, 2007



With his 1956 remake of The Man Who Knew Too Much, Alfred Hitchcock demonstrated that nobody was qualified to revisit the director’s work except Hitchcock himself. Great art generally doesn’t fare well under anyone’s guidance other than that of its source. Just take a look at some of the recent examples of mangled riffs on Hitchcockian concepts: Gus Van Sant’s 1998 shot-by-shot recreation of Psycho felt vapid and aimless; a made-for-TV take on Rear Window, starring wheelchair-bound Christopher Reeve, could use the subtitle Death of Superman. So, I’m not too pumped for the reported studio remakes of The Birds or Strangers on a Train.

Read the rest of the review in the New York Press...


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