If you’re a sucker for horror and suspense, and have a serious soft spot for the art of making movies, “Hitchcock” is an absolute charmer, delivering the touching satisfaction of a romance, but in a wildly entertaining and somewhat brutal environment.
“Hitchcock” focuses in on Alfred Hitchcock’s (Anthony Hopkins) career just after releasing “North By Northwest” and moving on to his next project, “Psycho.” Even though the director has immense clout amongst the Hollywood community, many wonder why he doesn’t just retire at the ripe old age of 60 and go out on top, but even more so about why he wants to work with such violent material.
Support for “Psycho” is hard to come by and Hitchcock is left with no choice, but to strike a deal with Paramount – self-finance the film himself and defer his director’s fee in exchange for a percentage of ownership of the film’s negative and a distribution agreement. The studio finally gives him a reluctant thumbs up and Hitchcock goes to work.
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Usually when I catch a movie, I’m busy scribbling down notes, some of which pertain to the film’s plot, just so I’ve got the facts straight when writing the review. However, in the case of “Cloud Atlas,” not only did I want to save my hand all that stress, but thought it’d be interesting to see what stuck after the 164-minute multiple storyline epic without writing a single note or looking at the press notes. No book, no notes, no Googling. This is what I took from “Cloud Atlas.”
We’ve got quite a few characters and storylines in play here. There’s Tom Hanks’ Zachary, a man living in a village, fighting off a vicious enemy tribe while assisting Halle Berry’s space-age character in her quest to send a call for help to her home planet. In the 1800s, one of Jim Sturgess’ characters befriends an escaped slave while sailing home to his wife. In the early 1900s, Ben Whishaw’s Frobisher goes to work for a famous composer where he gets the inspiration to pen the Cloud Atlas Sextet. In the 1970s, Berry is a journalist who catches wind of a scandal and is chased by a corporation assassin trying to stop her from exposing the story. In the present we get Timothy Cavendish, a man who’s tricked into signing himself into an old age home by his brother. Finally, well into the future, we meet Sonmi, one of many identical robot-like humans who are made to staff a fast food restaurant. They’re designed to sleep in their boxes, wake and go to work, but one day, Sonmi can’t help, but to recognize that she’s got hopes, dreams and feelings.
I can’t believe it, but I think I actually managed to account for every “Cloud Atlas” scenario. Yes, they’re merely simplistic descriptions of the stories, but when you’ve got a total of six narratives within a single film that don’t connect on a literal level and are all playing out simultaneously, it’s a wonder how someone can keep track of them all after a single viewing. And perhaps that goes to show that writer-directors Tom Tykwer, Lana Wachowski and Andy Wachowski did achieve a degree of success with their unusual methods.
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