Hitchcock : Sacha Gervasi

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Hitchcock : Sacha Gervasi Hitchcock : Sacha Gervasi Autor(en): Arnold, Frank Objekttyp: Article Zeitschrift: Filmbulletin : Zeitschrift für Film und Kino Band (Jahr): 55 (2013) Heft 329 PDF erstellt am: 26.09.2021 Persistenter Link: http://doi.org/10.5169/seals-864100 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. 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Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch M FILMBULLETIN 2.13 NEU IM KINO HITCHCOCK SACHA GERVASI «Die Leute, die wichtig sind, wissen es», von dem Massenmörder Ed Gein; es geht um jüngeren Cook bei einem kreativen Ideenaustausch. erwidert Alma Reville bescheiden-lakonisch die Auseinandersetzungen Hitchcocks mit Als sich dabei einmal ihre Hände auf die Bemerkung von Hitchcocks Assistentin seinem damaligen Stammstudio Paramount, berühren, ist die erotische Spannung durchaus Peggy Robertson, als die angesichts von dem der Stoff zu gewagt erschien (woraufhin spürbar, auch wenn Alma sich ansonsten Revilles Überarbeitungen des Drehbuches Hitchcock den Film selbst finanzierte über das mokiert, was wie Annäherungsversuche zu psycho bemerkt, eigentlich sollte es im und mit einer von der Fernsehserie «Alfred aussieht. Das Ende ihrer Zusammenarbeit Vorspann heissen, Drehbuch von Alma Hitchcock presents» übernommenen Crew kommt dann, als Alma Cook in seinem Reville und Joseph Stefano. In einem der Inserts auf dem Gelände der Universal drehte); es Strandhaus, ihrem gemeinsamen Arbeitsplatz, am Ende von hitchcock liest man dann, geht um die Kontroversen mit der Zensur mit einer anderen Frau überrascht. Hitchcock habe anlässlich der Verleihung und auch um die späteren Dispute, was die Whitfield Cook ist kein geläufiger des Lifetime Achievement Awards, viele Jahre kreativen Beiträge bestimmter Mitarbeiter Name, im Gegensatz zu fast all den anderen später, bemerkt, er teile diese Ehre - «wie anbelangt - wie Saul Bass, der nicht nur den Personen, die in diesem Film auftreten. Der immer» - mit seiner Ehefrau und Mitarbeiterin Vorspann gestaltete, sondern auch den Mord Zuschauer könnte diese Figur für eine Alma Reville. unter der Dusche in Storyboards entwarf, Erfindung des Drehbuchautors halten. Das passt zum Filmschluss, der ein oder Robert Bloch (den Autor der Tatsächlich aber ist Cook eine reale Person. Der wieder versöhntes Ehepaar zeigt. Zuvor Romanvorlage) und Joseph Stefano (den Drehbuchautor). 2003 im Alter von 94 Jahren Verstorbene hatte jedoch erzählt hitchcock, der auch «Alfred Rebellos detailreiche Darstellung zweimal mit Hitchcock zusammengearbeitet: & Alma» oder «Mr. & Mrs. Hitchcock» beschäftigt sich mit dem Arbeitsprozess, der als Autor bei stage fright (1950), heissen könnte, von der Krise nach vierund- Film macht daraus auch das persönliche Drama bei strangers on a train (1951) erhielt er dreissig Ehejahren, während derer die Frau seines Protagonisten. Ist hitchcock für additional dialogue eine Nennung im stets im Schatten ihres Mannes stand, also nur die Glättung einer Prominentenbio- Vorspann. Er war, so schreibt Donald Spoto in obwohl sie doch über all die Jahre seine engste grafie mithilfe bewährter dramaturgischer seiner Hitchcock-Biografie, ein Freund der Mitarbeiterin war. «Ich war seine Chefin, Muster? Familie und hatte für Hitchcocks Tochter Pat als wir uns kennenlernten», bemerkt sie im Ganz so einfach ist es nicht. Was seiner die Vorlage für ihren zweiten Broadway-Auftritt Film einmal. Erst als er in der Hierarchie Ehefrau Alma zu schaffen macht, ist Hitchcocks geschrieben. aufgestiegen sei, habe er sie um ein Rendezvous Vorliebe für Blondinen, deren gross- In einem Erinnerungsbuch über ihre gebeten. formatige Glamourfotos er immer wieder Mutter, das Patricia Hitchcock O'Connell «Behind every Psycho is a great betrachtet. Blondinen, zu denen er auch später veröffentlichte, wird Cook ausführlich woman», heisst es auf dem Originalplakat (auf jenseits der Arbeit eine Obsession entwickelt zitiert: «I was quite crazy about Alma dem deutschen: «Fiktion Liebe Hingabe»), haben soll, am extremsten später zu Tippi because she was so gentle and yet so strong. hitchcock zeigt uns den Regisseur bei den Hedren, einem Ex-Model, das er zur I don't think she cared that people thought Dreharbeiten zu psycho (i960), einem Film, Hauptdarstellerin von THE BIRDS und MARNIE she was working in the shadow of Hitch. She der sowohl in seinem Werk wie auch in der machte und die später äusserte, sie habe sich adored Hitch and she loved working with Geschichte des Schreckensfilms einen von ihm bedrängt gefühlt - Thema der im him Alma was very short but extremely besonderen Stellenwert einnimmt. Gervasis vergangenen Herbst in den USA und attractive, and part of that attraction came Film basiert auf «Alfred Hitchcock and the Grossbritannien ausgestrahlten Fernsehfiktion through her intelligence and warmth... One Making of Psycho», einem von Stephen Re- the model. In hitchcock kommt zur thing I did notice about her was that she bello verfassten, 1990 erschienenen Sprache, dass er tief enttäuscht war von Vera never talked about herself and she never talked Sachbuch, das aufgrund von Gesprächen mit den Miles, die er für die weibliche Hauptrolle about the past. She had been a pioneer in am Film Beteiligten entstand. Eine Neuauflage in vertigo vorgesehen hatte und die dann the silent era, but she never made a point of mit einem Vorwort des Autors, in dem schwanger wurde. Vor allem aber ist es die mentioning it.» er von der anstehenden Verfilmung berichtet, fehlende Anerkennung von Almas Anteil an Offenbar hat sich Drehbuchautor John erschien Ende vergangenen Jahres in den seiner Arbeit - beim Überarbeiten des Drehbuch J. McLaughlin vom ersten Satz zu dieser Phantasie USA (und wird nun zum Filmstart erstmals zu psycho sieht man sie meist allein -, inspirieren lassen. Das verwischt die auch auf Deutsch bei Heyne erscheinen). Es die seine Ehefrau die Wertschätzung anderswo, Grenzen zwischen Realität und Imagination geht darin um die Enstehungsgeschichte des nämlich in der gemeinsamen Arbeit an ebenso wie die Phantasie, Hitchcock imaginäre Films, der auf Robert Blochs gleichnamigem einem Drehbuch mit dem Autor Whitfield Dialoge mit dem Massenmörder Ed Roman basiert, der wiederum inspiriert war Cook, suchen lässt. Man sieht Alma mit dem Gein führen zu lassen, jenem Mann, der die FILMBULLETIN a.13 Inspiration für die Figur des von seiner Mutter Darsteller ihren Figuren (deren Aussehen, zieht sich eine Linie über George A. Romeros besessenen Norman Bates lieferte (und im Falle der Schauspieler oder Hitchcocks NIGHT OF THE LIVING DEAD ZU THE TEXAS der später auch Tobe Hoopers Splatterklas- selbst, dem Kinogänger mehr oder weniger chainsaw massacre von Tobe Hooper. siker the texas chainsaw massacre bekannt ist) anverwandeln, wenn auch in psycho ist ein Teil der amerikanischen inspirierten sollte). unterschiedlichem Masse: die Ähnlichkeit von populären Kultur geworden: Es gab 1998 das Und schliesslich bringt der Film die James D'Arcy mit Anthony Perkins kontrastiert Einstellung-für-Einstellung-Remake durch Vorstellung vom Künstler, der seine dunkle Anthony Hopkins als Hitch, der trotzfat- Gus Van Sant, und es gibt zahlreiche Seite in seinen Werken auslebt, mit einer suit Distanz zum Vorbild bewahrt, sowohl Hommagen, etwa in Filmen von Brian De Palma, Szene auf den Punkt, die so dramatisch wie was seine Maske als auch die für Hitchcock oder Parodien (zumal der Duschszene), so in spekulativ ist: Innerlich aufgewühlt vom charakteristische verlangsamte Sprechweise Mel Brooks' high anxiety. In der umfangreichen Anblick einer Unterhaltung zwischen Alma anbelangt. Und Helen Mirren wirkt einfach Hitchcock-Literatur gibt es eine Reihe und Whitfield Cook verliert Hitchcock bei viel glamouröser und dominierender als die von Werken, die sich ausschliesslich mit den Dreharbeiten zur Duschszene jegliche eher zierliche Alma Reville. diesem Film beschäftigen, allen voran Selbstkontrolle, als er höchstpersönlich psycho hat die filmische Landschaft Raymond Durgnats vor nicht allzu langer Zeit aggressiv aufJanet Leighs nackten Oberkörper verändert. Weniger in Bezug auf das clevere wiederaufgelegte Studie «A long hard look at einsticht, nachdem ein Stuntman das nicht Marketing, wozu der eigenwillige lange Trailer psycho». mit genügend Energie bewerkstelligt hat. Da (in dem Hitchcock dem Zuschauer eine Davon spricht Hitchcock nicht, aber hat der Film durchaus etwas von jener sleazi- Besichtigung des Schauplatzes bietet) ebenso
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