Wow! Is that really what happened? In many biographies about Alfred Hitchcock, the most Tippi Hedren ever said about the incident when Alfred Hitchcock supposedly propositioned her was, "Demands were made of me that I could not acquiesce to." But in "The Girl", Toby Jones' Hitchcock puts it right out there when he says to Sienna Miller's Tippi Hedren, "From now on, I want you to make yourself sexually available to me at all times. Whatever I want you to do, whenever I want you to do it."
Possibly it happened that way, Tippi Hedren seems to have been consulted by the filmmakers. My feeling is that where there was that much smoke there had to be fire, but just how fair is "The Girl"?
The movie is nothing less than interesting. Toby Jones is amazing, and Sienna Miller more than holds her own, but opinion over the film is divided. On one side are those outraged that Hitchcock's reputation has been besmirched without a chance to defend himself, while on the other are those outraged at what Hitchcock appears to have done to Tippi Hedren.
"The Girl" relates how Alfred Hitchcock groomed the inexperienced Hedren to star in "The Birds" and "Marnie". During the process, Hitchcock changed from mentor to monster becoming totally obsessed with her. Eventually he made an overt sexual advance. She refused and that was the end of the relationship.
One scene in "The Girl" does undermine it. It's the somewhat salacious screen test where Hitchcock asks Hedren to give Martin Balsam a long lingering kiss. Unfortunately for the makers of "The Girl", the actual test clip is fairly well known from documentaries and YouTube, and is a lot less threatening than the recreation. In reality, Balsam and Hedren actually seem quite comfortable with each other. It was silly to overdo a scene that is so accessible; it leaves you wondering how much over-egging went on with the rest of the custard.
The difference between Hedren and Hitchcock's other leading ladies was that they were better able to handle him. Most were established stars, surrounded by husbands, boyfriends and agents, but Hedren didn't have all that; she was just starting out and was far more vulnerable.
According to some sources, it was about this time that Hitchcock's judgement also seemed to be slipping. The suppressed voyeuristic tendencies and fantasies that helped inform his great films were taking on a harder edge. He now wanted to be explicit in what he showed.
Up until then, the Motion Picture Production Code kept him in check. Would films like "Rear Window", "Vertigo" or even "Psycho" be the enduring classics they are today if Hitchcock had been allowed to go all the way? The censor made him innovative and subtle. However, by the late 60's the Code was gone. No one ever ranks 1972's "Frenzy" among his greatest movies; plenty of rape and nudity on display there. Fortunately he never made "Kaleidoscope"; with what he had planned, it could have been a real legend killer.
As far as "The Girl" is concerned, maybe it's best to just enjoy the show. Toby Jones' Hitchcock is even better than his Truman Capote, genius really, the voice is perfect, and Sienna Miller is so beautiful that you can believe that a fat, old auteur could harbour a fantasy or two about her. But maybe the last words on the subject could be the classic line Hitchcock once directed at an actor who was getting a bit too worked up about things, "Don't worry, it's only a movie".
Possibly it happened that way, Tippi Hedren seems to have been consulted by the filmmakers. My feeling is that where there was that much smoke there had to be fire, but just how fair is "The Girl"?
The movie is nothing less than interesting. Toby Jones is amazing, and Sienna Miller more than holds her own, but opinion over the film is divided. On one side are those outraged that Hitchcock's reputation has been besmirched without a chance to defend himself, while on the other are those outraged at what Hitchcock appears to have done to Tippi Hedren.
"The Girl" relates how Alfred Hitchcock groomed the inexperienced Hedren to star in "The Birds" and "Marnie". During the process, Hitchcock changed from mentor to monster becoming totally obsessed with her. Eventually he made an overt sexual advance. She refused and that was the end of the relationship.
One scene in "The Girl" does undermine it. It's the somewhat salacious screen test where Hitchcock asks Hedren to give Martin Balsam a long lingering kiss. Unfortunately for the makers of "The Girl", the actual test clip is fairly well known from documentaries and YouTube, and is a lot less threatening than the recreation. In reality, Balsam and Hedren actually seem quite comfortable with each other. It was silly to overdo a scene that is so accessible; it leaves you wondering how much over-egging went on with the rest of the custard.
The difference between Hedren and Hitchcock's other leading ladies was that they were better able to handle him. Most were established stars, surrounded by husbands, boyfriends and agents, but Hedren didn't have all that; she was just starting out and was far more vulnerable.
According to some sources, it was about this time that Hitchcock's judgement also seemed to be slipping. The suppressed voyeuristic tendencies and fantasies that helped inform his great films were taking on a harder edge. He now wanted to be explicit in what he showed.
Up until then, the Motion Picture Production Code kept him in check. Would films like "Rear Window", "Vertigo" or even "Psycho" be the enduring classics they are today if Hitchcock had been allowed to go all the way? The censor made him innovative and subtle. However, by the late 60's the Code was gone. No one ever ranks 1972's "Frenzy" among his greatest movies; plenty of rape and nudity on display there. Fortunately he never made "Kaleidoscope"; with what he had planned, it could have been a real legend killer.
As far as "The Girl" is concerned, maybe it's best to just enjoy the show. Toby Jones' Hitchcock is even better than his Truman Capote, genius really, the voice is perfect, and Sienna Miller is so beautiful that you can believe that a fat, old auteur could harbour a fantasy or two about her. But maybe the last words on the subject could be the classic line Hitchcock once directed at an actor who was getting a bit too worked up about things, "Don't worry, it's only a movie".