Alfred Hitchcock: ‘The Birds’, 1963

A few nights ago, I watched Alfred Hitchcock’s ‘The Birds‘, for the first time in decades. I wonder why? I’ve seen restored versions of Psycho, Read Window, and Vertigo multiple times, but for some reason I’d missed re-watching this one. It was a pleasure to see again. And to see Tippi Hedren with fresh eyes.

I was surprised to discover a curious resemblance between actress Tippi Hedren, at age 33, and Paris Hilton, now 34. The resemblance is minor, but notable.

And I’m not the first to notice it. A brief Google search shows seekers asking if Tippi and Paris are related. (they are not) In the course of this, I also rediscovered that Tippi Hedren is the mother of actress Melanie Griffith. Born in 1957, Melanie Griffith recalls visiting the set during the filming of The Birds, in 1962, when she was a little girl.

I was also pleased to find that the earthy and vivacious brunette female co-star is Suzanne Pleshette, another detail I’d forgotten. She has features similar to Elizabeth Taylor, or a young Stockard Channing.

Notice, in the photo below, how the 33 year-old Hedren has similar features, or facial expression, to the 34-year old Paris Hilton. See a similarity? I think it’s there.

Since we all know the story, and suspense isn’t a factor, I was free to pay closer attention to Tippi Hedren‘s performance, and to the interpersonal drama between the main characters, played by Rod Taylor, Jessica Tandy, and Suzanne Pleshette.

What a strange, dark, pensive, Freudian, romantic-erotic narrative! Where much is left unsaid, but implied. Jealousy, loneliness, abandonment, flirtation, hostility, attraction, are all explored, but not resolved. I’ve always thought of Vertigo as being the most neurotic, sexually obsessed, repressed, fixated story in Hitchock’s canon, but I had underestimated the peculiar storyline of The Birds. Before the actual birds take over the story, there’s a lot of familial and romantic turbulence. And the cast is wonderful.

Tippi Hedren looks so elegant, mischievous, and glamorous, one can see why Hitchcock selected the untrained model, fixated on her, and elevated her to movie star. Much is written about Hitchock’s abusive, controlling personality, and troubles with female leads, no need to cover that here, Hedren was no exception. Leaving all that aside, it was a pleasure to simply marvel at how lovingly photographed the neophyte actress is, and how well-crafted the film is. The moody San Francisco and northern California seaside locations, the special effects, the sound design (no music, only bird sounds make up the film’s score) the cinematography…besides being one of the most famous horror movies of all time, it’s also a terrific early 1960s time-capsule. Next time you watch it? Forget about the birds, and follow the other elements of the story. Perhaps you’ll find it as rewarding as I did.

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