- #Viggo mortensen and ann hesche in psycho 1998 clips movie#
- #Viggo mortensen and ann hesche in psycho 1998 clips tv#
Kurosawa also imitated great literary works from the west, Throne of Blood (1957), based on Shakespeare's Macbeth, and Ran (1985), based on King Lear. Imitation of a master is also a reason, as in the case of Akira Kurosawa, whose Yojimbo (1960) emulated John Ford westerns, while his own Rashomon (1954) and Seven Samurai (1956) were remade Hollywood-style, The Outrage The Magnificent Seven (John Sturges, 1960). Of course, there is another reason: the vanity of the director himself (or herself), and this includes Hitchcock, who remade The Man Who Knew Too Much in 1955 based on his own version of 1934, a film that some still prefer to its remake. Conclusion: remakes were made to emulate the success of the previous version, and this particular reason for making them seems as formulaic and unimaginative as the Hollywood studios themselves.
In more recent times, the remarkable The Day of the Jackal (Fred Zinnemann, 1973) became the poorer and blood-soaked The Jackal (Michael Caton-Jones, 1997), and the popular Casablanca Havana (Sydney Pollack, 1990). Not all remakes were so successful financially or otherwise, of course. DeMille, proved equally lucrative at the box office. Examples abound: Ben-Hur was made three times (1907, 1925, 1959), with the last version being the most successful in terms of Oscars (11) and dollars earned (37 million) The Ten Commandments (1926, 1925), both epics directed by Cecil B. Epics and action thrillers were sure bets to bring in the cash at the box office if they had done so the first time around. Films were remade routinely from the start, and the practice in Hollywood and elsewhere has long been established for a number of reasons, not the least of which has to do with commercial motives, as indeed most of the movies remade over the years were of the commercial/mainstream variety. Remaking movies is not confined to our era of course.
#Viggo mortensen and ann hesche in psycho 1998 clips movie#
By the way, not all people were offended by Van Sant's Psycho: Patricia Hitchcock, who played a minor role in the original and was a consultant in this one, said her father would have been flattered by the remake of his movie 40 years later and Joseph Stefano, the screenwriter of the original Psycho, was more than eager to accept the job of re-writing the second Psycho script. The other arts repeat: Euripides rewrote the plays of Sophocles Shakespeare borrowed the Hamlet plot from his Elizabethan predecessors Racine copied the ancients opera librettists fed on Greek and Roman mythologies and sculptors thought it a hobby to copy one another. Repetitions aren't all unfavorable: for one, they help us remember the originals. According to Van Sant (as stated in his DVD commentary), it is likely there will be many more attempts at remaking Hitchcock's classics in the future, film being a young art barely a century old, and therefore with plenty of opportunity for repetitions.
#Viggo mortensen and ann hesche in psycho 1998 clips tv#
But it might be useful to dwell on the subject, for, no matter how one looks at it, this is the first verbatim (and thus worth noticing) remake of a Hitchock classic - though several have been made on a lesser scale, including, Rear Window, as a TV movie with ex-Superman Christopher Reeve on a real wheelchair (and a creditable job), and A Perfect Murder (Andrew Davis, 1998) based on Dial M for Murder, with Michael Douglas and Gweneth Paltrow, a forgettable movie already forgotten. Not all of these questions can be answered satisfactorily, of course, and no answer can satisfy all those who have decided to seal the doom of the Van Sant movie.
What was the idea? A host of related questions were raised, not the least of which was: what is a remake? Why are movies remade? And in the case of a unique work of art - as Hitchcock's Psycho is, by universal admission - why remake it all? When Gus Van Sant's Psycho was released in 1998, Hitchcock loyalists were baffled, puzzled, outraged, soured, and in the mood of total rejection - some even before having taken a look at the product. Augustine, Florida, and the author of Responding to Film (Burnham, Inc., 2001) The Remake of Psycho (Gus Van Sant, 1998): Creativity or Cinematic Blasphemy?Ĭonstantine Santas is a Professor of Literature and Film at Flagler College, St.
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