![]() Sadly for Vince Vaughn though, Anthony Perkins proved unmatchable. But in Gus Van Sant’s hands this is less a mercenary enterprise and more a cinematic experiment: can a shot-for-shot facsimile achieve the same results as before? If you’d never seen the original, would this have the same effect on you? And if not, why not? Maybe those are bogus questions, but Van Sant’s Psycho does intermittently work, particularly where Julianne Moore and Anne Heche are involved. ***Psycho (1960)īy reputation one of the most absolutely pointless of pointless remakes. ![]() ![]() Most Hitchcocky moment: Any time the camera goes on a long prowl or circles the actors. There are bits of Dial M For Murder and Notorious in there too, but the ending, though ambiguous, is markedly happier than Vertigo’s. You won’t find Vertigo referenced in the credits, but Obsession’s story of a man haunted by the death of his wife and years later running into her double, is really quite familiar. Much of Brian De Palma’s career has been about displaying his love for Hitchcock – see also: Body Double, Dressed To Kill, Sisters, Raising Cain – but probably his most intricate homage is Obsession, from Paul Schrader’s screenplay. In the meantime, we’ve run the rule over those who’ve come before Fincher in revisiting the Master’s work and sorted the remakes into the good, bad and the almost-exactly-the-same. Murder and sexual subversion will no doubt ensue once again, but only time will tell if the film lives up to the Hitchcock legacy. Together with Ben Affleck (star) and Gillian Flynn (writer), he’ll be putting a modern spin on the Patricia Highsmith tale of a wealthy tennis-playing gadabout and the mysterious man who, during one carriage-borne conversation, promises to solve all his problems for him. For his next trick, David Fincher will be reteaming with his Gone Girl posse to make Alfred Hitchcock’s loco-thriller Strangers On A Train sing again on the big screen.
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