When simple-minded, big-city lawyer James Stewart arrives in the town of Shinbone, he butts heads with town bully John Wayne as they fight over a woman and over how to run Shinbone. After notorious outlaw Liberty Valance comes to town, Wayne and Stewart set aside their differences to fight him. Stewart and Wayne shine as both tortured souls in their own ways. Not Ford and Wayne’s finest pairing, but with the addition of Stewart, this one is a must-see classic Western. On a side note, this film trademarked Wayne’s “pilgrim” expression, which he uses too many times to count here.

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The “wrong man” (or “wronged”) man has always been a running theme in Alfred Hitchcock’s films. From 1935’s classic The 39 Steps right up to Frenzy in 1972, Hitchcock had been thrilling audiences as they follow along a story about a man accused of something he didn’t do. In 1956, Hitchcock made the ultimate “wronged man” movie…giving it a very appropriate title and look. The look was that of a documentary…black and white (but that was still pretty common in the mid-50s), dark, humorless (which none of Hitchcock’s prior films had been), cameo-less (no Hitchcock peeking around a corner in this one), and lacking the fast-pacing of most of Hitchcock’s films up to that point. The director chooses everyman Henry Fonda to play his hero—the “wrong man—this time around. Fonda is perfect in this role since he’s adapt at morphing into any type of persona. Cary Grant, a Hitchcock regular, would have been way to sleek for this role. Jimmy Stewart, even, would have lacked the ability to enter the character with his tall, imposing stance. Fonda has the right look and build to play someone that just might look like the other guy…someone who is the ideal husband and father but could also look slightly sinister in the right light. The film starts off by showing Fonda’s routine…work as a musician in a nightclub until early morning then home where wife (also perfectly played by Vera Miles) is already sleeping…discussion with wife about money problems in morning…etc. Once Fonda finds himself in a mistaken identity mess when he is spotted in an insurance office as a former robber and arrested, Hitchcock mixes the plot with quite a bit of police procedures which offer insight into not only what criminals go through but also how law enforcement officers handle the daily grind. If you want to watch the quintessential Hitchcock film, rent North by Northwest, another “wronged” man film and much more typical of The Master of Suspense’s technique. If you want to watch a good film where Hitchcock experimented with the art of cinema and his own style, watch this one!

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Next time you’re in the shower, make sure Norman Bates or his mother are nowhere to be found. Ranked number one by the American Film Institute’s 100 Years, 100 Thrills, this Alfred Hitchcock movie still stands, even after 40 years, as one of the most scary, if not scariest films of all time. Psycho is not a horror film—it is just a fast-paced thriller that thrills a little more than most Hitchcock films. Also contributing to the “horror” quality are a very memorable ending and one of the most copied, talked-about, and studied film scenes ever…the shower scene. Hitchcock took quite a few chances when making Psycho. First, his leading lady Janet Leigh is out-of-the-picture about a third into the film. Then, the director chose to shoot the film in black and white, something that was not done that often in 1960. Hitchcock also cast lesser-known actors to play other key role, especially then-unknown Anthony Perkins as Norman Bates. Those risks paid off and placed Psycho at the top of Hitchcock’s best films.

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