Four more from Hitchcock

Saboteur

After an accident at his factory, a worker is falsely accused of sabotage. He follows clues across the country to clear his name. Hitchcock has some startling visuals (the umbrella scene Brian De Palma ripped off in Bonfire of the Vanities for starters) and the ending at the top of the Statue of Liberty is superb, especially given the technical limitations of 1942. B+

Shadow of a Doubt

Hitchcock's reportedly favorite film of his own is slow and deliberate, but still interesting and bold. Joseph Cotten plays Uncle Charlie who lives in the big city. He comes to visit his family in a small town as news of a serial killer spreads. You have to admire Hitchcock creating territory that David Lynch would make a career out of 40 years later. But since there is very little mystery, you're left with the characters and their psychoses. That's basically enough mostly due to Cotten, who delivers several misogynist speeches very well. B+

The Birds

Tippi Hedren visits a small town in mid-California and birds of different feathers begin attacking people. Hedren and Rod Taylor's back-and-forth is terrific and Hitchcock's set-piece at the gas station is one of the very best scenes of his career. The shock-cut with all the birds on the playground equipment is still stunning. The discussion about the end of the world and how people react to it gives the film enough substance to get by, but the last 30 minutes or so in the house are more dull than claustrophobic. And the film is frustratingly open-ended. B+

Psycho

Everything everyone has ever said is true. The best left-turn in cinematic history. Anthony Perkins is so perfect here, he was typecast for life. The low-budget black and white visuals couldn't be improved. The dialogue is playful and smart with the double-entendres flying. And Bernard Herrmann's string score is still shocking and perfect. The film has been often imitated, never equalled - not even close. But you probably didn't need me to tell you that. A+