It was 40 years ago today, June 16, 1980, that a new movie featuring Elwood Blues and Joliet Jake and their mission to save a Catholic orphanage premiered before a small group of suburban politicians and film crew members. The Blues Brothers hit box offices four days later and Joliet’s never been the same since.
The defining shot in Alfred Hitchcock’s Psycho is not any of the images in the famed shower sequence, or the overhead of the private detective getting knifed at the top of stairs or the reveal of “mother” as she’s turned slowly in the swivel chair. It happens at the very beginning, as Hitchcock pans and dissolves across downtown Phoenix, Arizona, before finally settling on the room where Marion Crane (Janet Leigh), a bored real-estate secretary, is having an afternoon tryst with her boyfriend Sam. The camera enters the scene through a crack in the window, under the shades, furtively catching a peep. Hitchcock is the voyeur, and so are we.
The writer-director’s humane and often surprisingly dark romantic comedy shows him at his finest with two charming leads in Jack Lemmon and Shirley MacLaine
Christopher Lee and Peter Cushing’s last photographs together, 1994