By Anne Thompson | Thompson on Hollywood November 2, 2012 at 2:23PM
It's Hitchcock season. I got over the awful HBO "The Girl," starring Toby Jones as Alfred Hitchcock and Sienna Miller as Tippi Hedren, by watching the entire Dick Cavett Hitchcock interview. I had more fun with Thursday night's AFI FEST world premiere of Sacha Gervasi's light-hearted "Hitchcock," starring a superb ensemble led by Anthony Hopkins and Helen Mirren as the master auteur and his collaborator and wife Alma Reville, who the director thanked when he won his AFI Achievement Award, but I confess that I'd rather stick with the real thing. (TOH's set visit is here.)
In my possession, happily, is Universal's Limited Edition "Alfred Hitchcock: The Masterpiece Collection." It's an embarrassment of digitally restored high-def riches, fifteen Hitchcock movies, 13 never before seen on Blu-ray, with a 50-page collectible book and "over 15 hours of bonus features!" including the new documentary "The Birds, Hitchcock's Monster Movie."
Ah, if only I had time to work my way through revisiting all these late-era Universal library classics. (Much of the prolific auteur's best work is not included, such as "Spellbound," "Strangers on a Train," "Suspicion," "The Lady Vanishes" and my personal fave, must-see spy drama "Notorious," starring Cary Grant and Ingrid Bergman.)
I rank these 15 HItchcocks in order of preference, top to bottom, below. Feel free to demur. Truth is, as the "Hitchcock" end credits point out, Hitchcock never topped his 1960 career peak "Psycho," made while he was age 60 in crisis mode. No one wanted him to make this low-brow pulpy thriller, which he discerned was "a nice clean nasty piece of work." And agent Lew Wasserman (well-played by always-solid Michael Stulhbarg) had to raise the financing independently, which meant mortgaging Hitchcock and Reville's home.
The main thing that these biopics keep suggesting is that Hitchcock wasn't just pouring his obsessions onto the screen. While voyeurism is a mainstay of his work, this film makes him into a literal Peeping Tom. They have Hitchcock hiring twitchy screenwriter Joe Stefano (Ralph Macchio) and closeted homosexual Anthony Perkins (James D'Arcy) because they each had mother issues.