![]() Fascinating to watch Heche and Moore riff on Marion and Lila Crane, though Vaughn has an impossible job supplanting Anthony Perkins' indelible performance. Van Sant allows himself only about half-a-dozen fractional variations from Hitchcock's storyboard - most blatantly during the murders - though in some respects the mise-en-scène is quite distinct, and in colour (out goes the black lingerie, in comes orange nail varnish). It stands as the first truly modern American film: Hollywood movies lost their innocence here, in the ruthless brutality of Marion Crane's murder. The choice of Psycho is a shrewd one the original hasn't a shot out of place. As original, and as personal, as a Warhol screen print, Van Sant's shot-for-shot remake of Hitchcock's seminal shocker takes an established text and recontextualises it 38 years on.
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