Alfred Hitchcock is noted as one of the greatest filmmakers of all time and rightfully so — his body of work comprised of over 60 films is skillfully composed highly dramatic and eclectic from beginning to end. So pulling back the curtain on the legend in his own medium was only a matter of time a how'd-he-do-it biopic that could pay respects to the collected works while revealing the master's process. Hitchcock directed by Sacha Gervasi (Anvil: The Story of Anvil) pays its respects but also reveals another unexpected quality of the auteur's behind-the-scenes life: it wasn't all that dramatic.
Anthony Hopkins slides into the silhouette of the recognizable director and does a reasonable job nailing his cadence and posture. Side by side with his wife Alma (Helen Mirren) who as the movie reveals was the director's close collaborator Hitchcock strides confidently into the world of independent cinema for the first time balking at studio heads who demand something more audience-friendly than the gruesome Psycho. Investing his own money into the film Hitchcock risks everything to turn the story of murderer Ed Gein into a high art horror picture. He finds a leading lady in Janet Leigh (Scarlett Johansson) a script in a screenwriter with mommy problems and a closeted actor to portray the sexually exploratory Gein.
And that's about it. Hitchcock disguises the usual stresses of moviemaking as major hurdles even representing Gein as a specter who haunts Hitchcock's every decision. Aside from the brief suspicion that Alma abandons him mid-production for charming writer Whitfield Cook (Danny Huston) which feels stuffed in and meandering rather than intrinsic to the making of Psycho there's little explanation for Hitchcock's anxiety and downward spiral. The film even dabbles in Hitch's well-known infatuation with his leading ladies — explored to a terrifying degree in last month's The Girl — but places the director on too high a pedestal to ever dig deep.
The real star of the show — and perhaps one who would have made a better subject for feature film — is Alma a complex second fiddle overshadowed by the greatness of Hitchcock. Mirren once again delivers a lively performance as a woman desperate to live her own life; the scene when she lets loose on Hitchcock is easily the high point of the movie. But like the audience who unknowingly appreciated her work behind-the-camera Hitchcock is too obsessed with the man at the center of it all to open up and give the character or Mirren the spotlight.
Hitchcock's time period flourishes and camera work are presented simply (Gervasi keeps hat tipping to the auteur's oeuvre to a minimum) while Danny Elfman whips up a score that riffs appropriately on longtime Hitchcock collaborator Bernhard Hermann's works. But there's no hook to elevate the film from a puff piece and even the biggest Alfred Hitchcock fan will be grasping for something more.
Like the depression-era brass-and-bass pop hits that its wiry protagonist covets Meet Monica Velour is a pleasant little ditty that plays smoothly and entertains from start to finish. Anchored by a refreshing turn from Kim Cattrall as the title character Keith Bearden’s feature debut is a firm freshman effort one that will undoubtedly grant the film journalist-turned-filmmaker a crack at something bigger.
A high-concept coming-of-age story with a significant social message the movie centers on seventeen-year-old Tobe Hulbert (Dustin Ingram) – an innocent and awkward recent high school graduate on the verge of a breakdown from boredom. The only solace he finds in his mundane existence comes from collecting assorted pop-culture items: vintage records from the 1930s comic books from the ‘40s and most interestingly pornography from the late ‘70s and ‘80s. When he hears about a rare appearance by his lifelong porn star crush at a sleazy strip club four states away Tobe leaves his drunken grandfather’s home and heads to Indiana to finally meet Monica Velour.
Of course after thirty years of professional wear and tear and marital and substance abuse Ms. Velour is nothing more than a decaying façade of the glimmering beauty she once was. Spiteful and world-weary Cattrall shines through the runny make-up and cheap outfits her character has become accustomed to and delivers an authentic portrayal of a woman who walked on the wild side and came through a marvelous mess. Her performance along with the nostalgic reminiscence of porno’s home-video heyday offers a loving nod to the skin-flick industry while poking fun at its ludicrous unnecessary plot lines and C-rate production values.
While Ms. Cattrall will help sell tickets young Dustin Ingram steals the show as the nebbish Tobe. Looking and acting like the bastard child of Napoleon Dynamite and Johnny Depp’s Willy Wonka the twenty-year-old actor taps into the misery of America’s disaffected youth and turns it into enjoyably wry comedy that shares its tone with the picture as a whole. Writer/director Bearden brightens his character’s bleak outlook on life with vibrant colors that convey the magic of Americana that fuels the film as well as his protagonist’s quest.
Though the movie may be likened to popular teen comedies like The Girl Next Door Porky’s or Fast Times at Ridgemont High underneath the crude humor and sex jokes is a poignant story of an unlikely friendship between a faded star and her number one fan. There is a great deal of emotional depth to both the characters and the narrative and though the relationship between Monica and Tobe is mostly comedic Bearden allows the mold to be broken at times to reveal a genuine connection between these two lost souls. Furthermore the picture attacks the hegemonic perspective of the aging woman in a society that worships youth and beauty and is quick to dispose of one who is past her prime. It has more in common with Juno and Little Miss Sunshine than the aforementioned mainstream studio movies and like both of those critical darlings deserves to be picked up for wide distribution where it will surely prosper.