希治閣──黃金時代：危險情人、冤枉好人、純電影

上期節目重溫了白賴仁狄龐馬的代表作，提及他在創作上如何表露對希治閣的景仰，一、二、三月節目就來回顧正牌「緊張大師」的傑作了。希治閣正式執導的首部默片《快樂園》已有親手溺死情婦和企圖殺妻的情節，他所炮製的心理懸疑，像《蝴蝶夢》、《意亂情迷》、《諜網情鴛》、《電話情殺案》及《神秘賊美人》，不少都是親密關係裡的欺瞞、嫉妒與控制（而且女主角往往是金髮美女），一旦碰上「危險情人」，輕則險象環生，重則謀財害命，慾海必有驚魂。

希治閣認為自己執導第三部作品《房客》才真正拍出個人風格，而那正是個「冤枉好人」的故事。由《捉賊記》、《擒兇記》、《含冤記》、《奪魄驚魂》到《奪命狂兇》，總是黑白顛倒，好人當賊辦，往往要自行追查真相，方能洗脫罪名沉冤得雪。而希治閣最知名的經典電影，由《火車怪客》交換殺人、《後窗》限制視點、《迷魂記》撲朔迷離、《觸目驚心》戀母成瘋，到《鳥》的殺人雀鳥，都有他常用主題的創新調配，拍出了希治閣推崇的「純電影」，令法國新浪潮導演都驚嘆的電影語言，刻劃出人的執迷及魔性。

詳情：http://cinefan.com.hk/cms/category/programme/jan-feb-mar-programmes-2017/?lang=zh

Alfred Hitchcock – The American Years: The Dangerous Lover, The Wrong Man and Pure Cinema After showcasing Brian de Palma's Hitchcock-inspired films, it’s time the Master of Suspense takes center stage. Alfred Hitchcock's signature style in creating surprise and suspense goes way back to his debut silent film THE PLEASURE GARDEN, where “The Dangerous Lover” begins to take shape. In REBECCA, SPELLBOUND, NOTORIOUS, DIAL M FOR MURDER and MARNIE, his intertwined enigmas continued to built up, exploring deeper into the world of suspicion, danger, fear, love and superb mystery. The Hitchcock Blondes are, of course, not to be missed.
Alfred Hitchcock considered THE LODGER “the first true Hitchcock movie”, where his style is established. His constant themes of truth and deception, innocence and guilt, and “The Wrong Man” were further developed in TO CATCH A THIEF, THE MAN WHO KNEW TOO MUCH, THE WRONG MAN, NORTH BY NORTHWEST and FRENZY. Some works that stand out even in a gallery of masterpieces – the murder exchange in STRANGERS ON A TRAIN, voyeurism in REAR WINDOW, romantic mystery in VERTIGO, oedipus complex in PSYCHO, and nature's terrifying choreography in THE BIRDS. And all the scenes that haunt us long after the lights go up, are truly what the Master of Suspense termed as “Pure Cinema”.

For details: http://cinefan.com.hk/cms/category/programme/jan-feb-mar-programmes-2017/