In one of the many fantasy sequences that populate Hitchcock (2012), the director (Anthony Hopkins) imagines himself on a psychiatrist’s couch. The psychatrist is Ed Gein, inspiration for Psycho, and in the course of their session, Hitchcock confesses he’s been having thoughts. “Dark thoughts,” he says.
It’s a chilling delivery by the former Dr. Lecter and a reminder that, even after years of paycheck roles and under makeup that never fully gels here, Hopkins remains a stunning actor. This scene, however, encapsulates the flaws and pleasures of Hitchcock, a biopic in the Capote mold where one period in a subject’s life is meant to represent the whole of their career. Director Sasha Gervasi and writer John L. McLaughlin, working from the book Alfred Hitchcock and the Making of Psycho, spend much of the film’s running time portraying the production of Psycho in relatively straightforward fashion. The dynamic between Hitchcock and Alma Reville (Helen Mirren, who also gets many lovely moments throughout) is the focus during the production, emphasizing the tension between the famous director and his less-known wife. It captures the relationship two creative people in love so often have, from the fights to the creative disagreements, from the discussions over the material to the private knowledge that, in the end, there’s only one person whose opinion you trust. This relationship is surrounded by a bevy of character actors in supporting roles. Scarlett Johansson is warm and gentle as Janet Leigh, and Toni Collette disappears into her role as Hitchcock’s secretary. Michael Stuhlbarg continues his hot streak of being one of the best parts of any movie he’s in as future Universal studio head and agent Lew Wasserman.
Yet these sections are interspersed with the aforementioned fantasy sequences and in-jokes, often surrounding Hitchcock’s conversations with Ed Gein (Michael Wincott) or inserting Hitch into key moments from Gein’s life. And of course time must be given to the director’s voyeuristic impulses and sexual manipulation of his leading ladies. These oft-amusing shadings remain the least effective parts of Hitchock, but they suggest a much weirder, sinister movie had more time been devoted to them. As such, they leave one wishing for more behind-the-scenes material — like the relationship between ‘Hitchcock blondes’ Leigh and Vera Miles (Jessica Biel).
Hitchcock can’t fully commit to either take on the Psycho myth, and the film suffers for it before recovering in the final act, centering around the promotion and premiere of Psycho. Here, in a sequence involving Hitchcock watching the people watching the shower sequence, both tracks come together with Hopkins’ wordless acting that makes you wish for a better movie yet leaves you happy with the one you get.
Hitchcock. Dir. Sasha Gervasi. Wr. John L. McLaughlin, based on Alfred Hitchcock and the Making of Psycho by Stephen Rebello. Perf. Anthony Hopkins, Helen Mirren, Scarlett Johansson, Toni Collette, Michael Stuhlbarg, Jessica Biel, Danny Huston. 98 minutes. Fox Searchlight, 2012.