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Entries in Anthony Perkins (7)

Monday
Jul062015

Beauty vs Beast: Motel Hell

JA from MNPP here, wishing you all a happy Monday and wishing what would have been a happy 88th birthday to the great, sadly passed Janet Leigh. She's been gone for over a decade but Janet's legacy still looms tall with several classics -- Touch of Evil and The Manchurian Candidate both come to mind -- but as it has been said we all go a little mad sometimes and color me mad when I realized that Alfred Hitchcock's Psycho has somehow never found itself "Beauty vs Beast"-itized. It's a prime pick whose time has come! Slap on your favorite wig and let's play!

PREVIOUSLY This weekend Terminator: Genisys flopped box-office-wise and according to your votes maybe they should've thought about bringing Linda Hamilton along for the ride since her Sarah Connor trounced Full Metal Arnold in our face-off taking just under 80% of the vote. Said SusanP:

"As far as I'm concerned no contest -- Sarah Connor in a walk. Plus, when you list her pros you are neglecting her most important/awesome assets: The Arms "

Wednesday
Mar302011

Hit Me With Your Best Shot: "PSYCHO"

In this weekly series "Hit Me With Your Best Shot", we look at a pre-determined movie and select what we think is the best (or at least our favorite) shot. 


 Let's stare this down right away.

The best shot in Alfred Hitchcock's immortal Psycho (1960) comes from arguably the most famous single scene in cinema's 100+ year history. It's that devastating slow clockwise turn (mirroring blood swirling down the drain) paired with a slow zoom out. Marion Crane is dead or thereabouts. Dying in the shower allows her final posthumous tears.

In what is arguably Hitchcock's most brilliant decision in a film filled with them, this moment turns the movie's fabled voyeurism (and explicit understanding of cinema's very nature) back at the audience. We've been staring at Marion Crane, foolish bird-like Marion, for 49 minutes watching her squirm in her "private trap". We couldn't (didn't want to?) save her. Now it's her turn to stare back.

How much death does the cinema need?
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