Episode 2 - Alfred Hitchcock and One Location Movies

One-location Movie's Podcast

With over 50 movies under his belt, he redefined cinema and left an indelible mark on entertainment. It's impossible to discuss the history of motion pictures in any capacity without a nod to Alfred Hitchcock. "The Birds" and "Psycho" introduced me to the Hitchcock world while studying film in Tehran, during my early twenties.

I wasn't drawn to the stories he presented, but rather, I was captivated by the techniques he showcased. The camera work, the editing, the visual aesthetics, the playfulness, and the experimental nature of his filmmaking approach—everything about it fascinated me. I mean, he tried it all.

In addition to a bite-sized article available on the Bubble Pictures Studio website, here we explore Hitchcock's pioneering a unique form of visual storytelling dedicated to cinema. His camera was like a painter's brush, capturing specific objects, elements, and actions to evoke emotions. Even with muting the sound, the narrative in his movies is still understandable.

In "Lifeboat" we’re on a survival journey. A diverse group—all stuck in this tiny lifeboat.

Blocking and staging for this movie was not easy, yet again, Hitchcock made it look otherwise. Let's hear Pat Hitchcock and Dr Drew Casper from Peter Vantrella’s documentary named “Alfred Hitchcock's Lifeboat: The Theater of War”

Imagine how much Hitchcock himself learned from making "Lifeboat" and helped him kick off his other movie "Rope," the movie he made four years later. In Rope, Brandon and Phillip, attempt the perfect crime by strangling their ex-classmate with a rope. What makes it stand out is how Hitchcock shoots the murder in continuous take, making it feel like it's happening right in front of you.

Let’s listen to Arthur Laurents, the screenwriter for some hidden gems…

in "Rear Window," the movie unfolds as a suspenseful exploration of voyeurism and obsession. And Hitchcock plays with our view to keep us hooked.

Additionally, I encourage you to listen to Gary Rydstrom as he explains the sound design of 'Rear Window.' You can find the complete version on our Instagram account.

After viewing all four of these movies, I took a moment to reflect, and it struck me that there wasn't a traditional hero in any of them. While stars were portraying the main characters, Alfred Hitchcock made sure you know that he was the one orchestrating these movies
Through his intentional choice of shots, the commanding use of the camera, whether through editing or the absence thereof, and the strategic deployment of sound, Hitchcock loudly proclaimed himself as the true hero of his movies. Perhaps, this is why I've always learned valuable lessons from his movies without necessarily falling in love with the narratives.

It's important to understand Donald Spoto, Hitchcock's biographer, as he explains the concept of 'pure cinema.'... (soundbite) This cinematic approach, though a gift to movies, emphasises the need to know who's behind the camera and what are their intentions, if there are any.

To me, Hitchcock was a master of form, yet the stories, particularly the depiction of women and the dialogue employed against them, left me uneasy. Examples like the unnecessary violence in the attempted killing of Margot, the character played by Grace Kelly in "Dial M for Murder," or the ending representation of Lisa, also played by Grace Kelly, in "Rear Window," linger in my thoughts… Also, the&