“Don’t make this movie!” : 58 years ago, Alfred Hitchcock wanted to do the most concerned of his career, he finally gave up

Cinema history is punctured by film projects, sometimes very or very ambitious, which by their authors could not be completed for a variety of reasons. We have clearly note the very well -known project that Stanley Kubrick has imposed on Napoleon, which has eventually been broken by MGM after a bitter failure in the film in Waterloo. Or what should have been a huge filmmaker’s last film that was David Lane, NostromoWhat to produce a certain Steven Spielberg. Dantesque project on which the legendary director of Arabian Lawrence will destroy health is already very unsuccessful.

In the aborted project galaxy there is a singular work that Alfred Hitchcock wanted to achieve: Kaleidoscope.

Thriller with obvious scenes

After the liberation of the cellar, which was a great critical and commercial failure, Alfred Hitchcock decided to run Ripper in 1966. Then she worked on a new movie project she was baptized Frenzy.

However, this is not a film published in 1972 under the same title, which has undoubtedly had the sexiest murder of the sexiest murder of the master’s entire film. First known as Frenzy, Hitchcock’s unfinished project is finally called Kaleidoscope. The project that he should contact with the success of psychosis and birds.

In his opinion, the kaleidoscope should be a new thriller that includes very clear scenes, shot with strangers for a small budget, in the natural teams and whose technique (fast film, camera worn) inspires European films.

During this time, Hitchcock was then fascinated by Michelangelo Antonioni’s work because of his explosion. In the summer of 1967, silent tests were taken with the greatest mysteries, led by photographer Arthur Shat, who works in a prestigious magazine Life. No one should know what Hitchcock is working.

Below is a very short extract from these tests. Overall, soon after his death, you will see one hour of pictures.

After several screenwriters, such as Robert Bloch (author of the book psychosis), Samuel Taylor and Alec Copel, the author of the cold sweat script, the director finally returned to his old accomplice Ben Levi, who signed the blackmail scenario 1929.

In order to build her intrigue, Hitchcock is trying to inspire the story (authentic to say) by Neville Hate, an English serial killer who unfortunately said that they had been troubled before they were going to rape them and then kill them. Finally, the scenario is developing towards the history of a young man who brought in the construction of a body (!) The first murder of the film becomes part of the waterfall in the woods.

“You hit your brand in the air!”

When Hitchcock sent his script version to François Truffout, the latter replied that he was very uncomfortable with the level of violence and sex he wanted to see in his future work: “It doesn’t worry too much because I know you can shoot such scenes with real dramatic tension, and that you never live in minor details.” He wrote him. Despite this.

One of the chief executives of Universal, Lou Wasserman, considers the opposite. He has convicted an anti -commercial project, especially for his sexual abuse. As for the film casting, it should only be made of perfect strangers. “Don’t make this movie. You’ll make your brand in the air!” Is it in Hitchcock. The latter dropped out and left the project. Wasserman then persuaded that another project would be launched that would be Etau.

As an epilogue, Hitchcock will still use some elements developed in his kaleidoscope in his next film Frenzy, in 1972, which is adapted to the story of Arthur La Bern. Seeing Piccadil, Farewell Leicester Square. Moreover, ironically, moreover, in the heart of these stories, the killer is strictly inspired by Neville Hate, the same inspiration as a kaleidoscope killer.