Thrills Times Four

Matte Shot – a tribute to Golden Era & Traditional Special Effects

I am constantly in awe of the talent and style of Alfred Hitchcock – arguably one of cinema’s great visionary film makers whose output was unique as much for its countless iconic moments of memorable cinematic mastery as it is for the generally ‘top shelf’ analytical recognition and critique encompassing by far the more substantial chunk of Hitch’s film output which easily out weigh in number the lesser efforts and critical failures. Sure, not all of Hitchcock’s pictures were commercial successes, with several only receiving their ‘lost’ audience some decades later. Far more than just a director, Hitchcock was a highly intelligent, well read man whose numerous interviews both on the printed page and on film are rarely anything less than a sourse of inspiration, technical insight and revelation into the entire process from initial idea to finished release- all aspects of which Hitch knew inside and out.

I never fail to be thrilled by the master and his filmic structure. Among the many, many superb scenes (without a single visual trick) are: Cary Grant carrying ‘that’ glass of milk up the stairs to Joan Fontaine in the excellent and under rated SUSPICION (a blog with all the many mattes in high def BluRay from this film will come here soon); The sinister long shot of the tennis crowd in STRANGERS ON A TRAIN where every head is following the ball left to right to left except that one solitary individual sitting dead centre, with eyes only on our protagonist… really creepy and just so damned well handled. The unexpected sudden violent death of the boy on the bus in SABOTAGE – which no American movie maker would ever dare to suggest let alone show on screen; That long and ultimately revealing push in on the drummer in the band in YOUNG AND INNOCENT still sticks in my mind after seeing it 30 odd years ago; Martin Balsam’s slow and unsure ascent of that staircase in PSYCHO – certainly one of the most white knuckle cinematic moments in history; The sea of umbrellas and uncertainty for Joel McCrea in the wonderful FOREIGN CORRESPONDENT; The treachery of the unwanted passenger in LIFEBOAT that we so want to yell ‘wake up’ at the screen; That lone bird landing upon the playground equipment unnoticed by Tippi Hedren in THE BIRDS followed by an almost unbearable few minutes showing just Tippi and not whatever is happening behind her – pure genius; Kindly Uncle Charley’s real persona unveiled in SHADOW OF A DOUBT; Henry Fonda’s ultimate encounter with his doppleganger in THE WRONG MAN and one of my favourites, Police Inspector Alec McCowen’s earnest attempts to find nourishment from one of his wife, Vivien Merchant’s misjudged culinary experiments in the very dark comedy thriller FRENZY all the while discussing gruesome murder methodology.

…Read the Full Article @ Matte Shot

A tribute to the artistry and ingenuity of traditional matte painters, this collection celebrates the hand‑crafted movie magic that once shaped cinema — from grand, epic vistas to invisible effects even seasoned viewers might miss. It’s designed for both casual fans and dedicated enthusiasts, offering a renewed appreciation for skills largely forgotten today. I’ve also reached deeper into the Matte Shot archives to bring even more of this remarkable work forward, and I hope you enjoy the journey as much as I do.