Directed by Sacha Gervasi

USA, 2012

Cornerhouse, 9 February 2013


What makes the film worth watching is Anthony Hopkins’ extraordinary performance, and thankfully he is on screen about eighty percent of the time.

His physical transformation is uncanny, and to my ears he has got the voice, with its often droll delivery, down pat.

The film looks at the period of Hitchcock’s career when he made Psycho, and you may baulk at the notion of Ed. Gein as the dark side of the Master’s genius.

Our poster boy Anthony Perkins doesn’t get a tete-a-tete witn Mr. Gein, while vague acknowledgement is made of the contributions of Joseph Stefano and Bernard Herrmann to Psycho.  Of course, you could say that Hitchcock isn’t meant to be about them – the clue is in the title – and that if any director is deserving of a possessive credit, it is surely Hitchcock.  Certainly, the look and tone of Psycho was due mainly to his vision.  Still, if you have no truck with auteur theory, you’re likely to have a bone or two to pick with this film.

Just see it for Hopkins’ chameleon-like transformation; he’s a class turn.