Review: Hitchcock ja blondi

HITCHCOCK, BLONDE AND MURDER

The British novelty on the small stage is Terry Johnson’s Hitchcock and the Blonde, directed by Neil Hardwick. It plays with ideas about the lost early work of the famous English-born Alfred Hitchcock, who directed most of his career in Hollywood, and the fatal blonde whose shadow was reflected in almost all of his films.

Nudity, horror, death, murder and sex, which were also essential parts of the Hitchcockian story-gallery. Hitchcock, who had a strict Catholic upbringing and married his colleague film editor Alma Reville at an early age, drew his entire life from the contradictions between a Puritan upbringing (and religion) and reality.

The themes are examined through conversations between an inhibited researcher approaching middle age and a young female student he has lured to become a research assistant, as well as a master director preparing his most famous scene and a beauty he has chosen for the necessary close-ups of his female body.

Johnson draws from the ingredients a slightly overly long but fascinating collage of film and theatre. The effects come largely from the big screen – including the music (The Los Angeles Philharmonic’s The Film Scores, cond. Esa-Pekka Salonen), on the other hand, larger-than-life drama is common to both art forms. The brilliant actors Carl-Kristian Rundman, Sanna-June Hyde, Mari Perankoski, Mikko Kivinen and so on are half the food in this job as well.