It’s been a long week at home and I needed either a comedy that I could lose myself in and not have to do much thinking. Or really treat myself with a dissection of film history, gain an even better understanding an appreciation never go a-miss. I settled for 78/52 (2017) a very obscure title that needs the prior in-depth or nerdy knowledge of Alfred Hitchcock‘s Psycho (1960) which the second documentary in recent time to explore the director. Previously the taped conversations between Hitchcock and Truffuat in Hitchcock/Truffuat (2015) which were the basis for the bible as it known by famous film directors who have worn and tatty covers that they have in their possession.
The earlier piece was steering us towards the making and the influence of Vertigo and ultimately Psycho a film that has changed the medium of film making. It’s a natural progression to then make a documentary that builds on that discussion, focusing not just on the film, it’s that scene, the scene that has become part of popular culture to the point that you don’t even need to have previously seen the shower scene. A moment in film that has become ingrained into the language of film that it’s essential reading for all students and fans of the medium.
78/52 is very much a labour of love, the aesthetic of the film’s built around the film, there’s no contributor sat in-front of a green-screened image or a hotel room. Instead a faithful recreation of the Psycho motel sets has been built to sit the contributors both famous, obscure and really unknown if you don’t have a love of horror films. Writer/director Alexandre O. Philippe has really done his research in pulling this documentary together. Drawing us into the world of the America that has become cut-off from civilisation to find the motel that Marion Crane (Janet Leigh) found that led to her bloody demise, all filmed in black and white, even our contributors are brought into this world. The only jarring break to colour is for colour film clips which you get used to, once you except that its a back and white world we are in it’s excepted.
The first 3rd of the film is pure build up, as we learn – again the context behind the film, the behinds the scenes that is even left out of the fun film depiction of the making of the film Hitchcock (2012) that focuses more of the directors psyche rather than the minute detail of what is essentially 78 shots of film and 52 cuts in the editing room that ends all that build up. Exploring that drives that lead Norman Bates (Anthony Perkins) to dress as his dead mother and kill what could easily be his latest victim. Looking at the state of films in the late 1950’s all that were begin to bubble over from innocence to a burst of sex of violence in the following decade, breaking free of the Hays code that had restrained them to conform to the strict moral virtues of the country and “Mothers knows best” that Hitchcock exploits to shock his audience who had seen nothing like it in America in mainstream cinemas around the world. We can see this all in Hitchock’s earlier films, the role of the mother, waking up America from it’s nieveity to the war in his native Europe. The drives in his works, the symbolism that was building up his thrillers before delivering his first horror, a film that he would never top. Leaving me wondering how the rest of the classic really can work or live up to all the build up to that scene. Leaving Marion’s sister and lover to workout what happened, the result of the shower scene and that comes after pales in comparison. Yet without that lesser part of the film we wouldn’t have understood the motivations and get the conclusion that we leave with.
What could have been a replay of the shower scene, including the undressing, stepping into the shower to the eventual and famous climatic murder and the disposing of the body. Every frame and cut’s dissected with equal measure. Getting insights from everyone from editors, directors and even Jamie Lee Curtis. Instead of the classic fun of stills we have an in-depth discussion of the scene. At times light whilst at others very insightful, putting Hitch on the couch for some psychoanalysis through various film clips. We can see his had been building up to this film for over thirty years, finally breaking free of the holds of his childhood, expressed through his films.
Lastly we see the cinematic influences of the shower scene of slasher horror and main-stream film, how much of an impact that the scene has had on the medium. Even with the utterly pointless Gus Van Sant remake that I have so far avoided. Just proving that remakes can be completely pointless. Mere exercises in replication in shot for shot films hold no interest for me, there’s no point, however its inclusion in the film makes that very point, without even saying much about it. All part of the relationship between the original and the development of film since it’s release.
Ultimately it’s a very well researched documentary that is at times light whilst at other moments deadly serious. Full of clips that are needed to build up a compelling argument that unpicks the shower scene that forever changed the face of film, without ignoring its own and the directors influences. I know I made the right choice night, enough to make me write this review so it must have been.