The Birds [Hindi] (1963) - Dubbed Other movies recommended for you
The Birds [Hindi](in Dubbed Hollywood Movies) The Birds [Hindi] (1963) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream The Birds [Hindi] on your mobile, tablets and ipads
Plot: Melanie Daniels is the modern rich socialite, part of the jet-set who always gets what she wants. When lawyer Mitch Brenner sees her in a pet shop, he plays something of a practical joke on her, and she decides to return the favor. She drives about an hour north of San Francisco to Bodega Bay,… Runtime: 119 min Release Date: 12 Sep 1963
Seems silly to give a 10 to "The Birds" what can I give to "Notorius" then? Or "Rear Window"? A 20? It doesn't matter, a 10 shouldn't mean the best but one of the best. Best as in degrees of enjoyment, best as in time of enjoyment, 10 for the kind of enjoyment. "The Birds" is a ten for all of the above. Hitchcock's world varied consistently, it depended very much on his travelling companions. Writers first and foremost then composers. There is no music in "The Birds" so most of my questions are directed to the eclectic Evan Hunter <more>
who dissected Daphne de Maurier's original story and transformed it into something that not even Hitchcock had attempted before. A lyrically surreal horror soap opera kind of thing. It visits many of Hitchcock's obsession's of course, an icy blond and a castrating mother. Tippi Hedren follows a long line of Hitchcock blonds, from Madeline Carroll and Ingrid Bergman to Grace Kelly, Kim Novak, Janet Leigh, Eva Marie Saint and Doris Day as Jessica Tandy follows Madame Constantin, Jesse Royce Landis and Louise Latham not to mention Mrs. Bates. Evan Hunter was behind films like Richard Brooks's "Blackboard Jungle" and a semi forgotten gem Frank Perry's "Last Summer" As well as having Akira Kurosawa based his film noir "The Ransom" on one of his novels. Here, he follows Hitchcock's needs with religious reverence and at the same time comes out with something quite unique. I love the light weightiness of the heaviness. I've always loved the daringness of the pacing. The car trip to to Bodega Bay or the long shots of Jessica Tandy's truck driving away in horror from the farm. This movie is also a reminder to the filmmakers, depending in special effects, that effects tend to age a movie far too fast. The effects should be at the service of the characters and not the other way round. Rod Taylor, a charming, versatile matinée idol with a brain and the scrumptious Suzanne Pleshette ad to the many pleasures this 10 of a film will keep in store for generations to come.
Imagine Hitchcock trying to sell this idea to the film studios: the lives of a mundane country family are shattered when vicious rooks attack. Why? No particular reason. And what then? They fly away. and then? They come back again and attack. And then go and then . .. It seems like an impossible plot to pull off, but Hitchcock does it, slowly building up the tension which spasmodically swells and subsides. Younger viewers may get irritated with the slow stealth of the opening scenes and may want to thrash the T.V. when the film comes to its beautifully droll conclusion, but form once those <more>
birds start attacking, every viewer is riveted. It was fine Hitchcockian innovation that took this very slim, cock-a-mamy story and turned in to a tense thriller. But the greatest innovation is the film score - there isn't any. No director is more closely identified with the music of their films, but in Birds, Hitchcock created a horror that is uniquely quiet. The great man appreciated something that so few others do - the atmospheric potency of silence, and how, in different settings, silences can differ in character. Yet so many who watch the film seem to forget that the music isn't there. That's the film's greatest attribute.
Some films are so well made that watching them unfold sequence by sequence creates the feeling of surrender to a higher force. Hitchcock, no stranger to spellbinding his audience, was known for bringing a sense of intense masochism into the viewer's eyes. In THE MAN WHO KNEW TOO MUCH the Albert Hall sequence is a perfect crescendo of images and music in which Jo McKenna sees a man who is the key to her son's safety prepare to commit a crime with deadly slowness. In PSYCHO, Marion Crane takes a fatal shower and gets a vicious visitor. In VERTIGO, Scotty and Judy begin a dizzying affair <more>
which itself is as obsessive as narcotic and culminates high above the bell tower, filled with revelations upon revelations.THE BIRDS is by far one of Hitchcock's most deadly incursions into cinematic masochism. In itself, it's a masterpiece of misdirection. Hitchcock has no wrong man in his story, no chase sequences or at least, none that involve Cary Grant and some Bad Guys , and no double-crosses. All he presents here is Tippi Hedren's arrival to the small town of Bodega Bay, a series of Meet Cutes between her and Rod Taylor, what could pass as romantic suspense, and the most impressive sweeping of the rug right out from under the audience's feet at precisely halfway through the movie when the plot makes a left turn into uncharted territory. Who else can lay claim to that feat? Hitchcock, in revealing the black petals of his deadly flower revealing themselves, opening up, and swallowing the viewer whole at this precise mark is one of the un-topped achievements in cinema history.And so begins a sequence of events that proceed at the vertiginous crescendo of domino's falling. We've seen the birds amass and attack in increasing ferocity. We've seen the damage they've done to the little city. Hitchcock, of course, has one better on the viewers during the film's overpowering climax: making their presence oppressive and omniscient through the use of sound imitating their shrieks until it becomes deafening and everyone is twisting and turning in revulsion among the corners of the house in reaction not only to their fury but to what they might imagine as their horrible deaths. Hitchcock never once gives an emotional release, and then he outdoes himself in using the most hackneyed excuse for a plot device: Melanie ascending the stairs because she heard a rustling noise, the quintessential "Don't go there," which is the oldest trick in the book. Because we know what lies on the other side of the door....The stroboscopic effect of the last attack is petrifying as it is unflinching. Melanie, waving the flashlight in a weak signal for help, being slammed against the door, as Mitch tries to get inside but finds he cannot. As Melanie begins slumping and surrenders to the birds' attack, she has an odd mixture of horror and pleasure. We, of course, can't do anything but watch and watch and watch.Hitchcock had always been attracted to the theme of rape. Because his professional relationship with Tippi Hedren was brittle at best, this sequence, somehow out of place and character, seems more in tune with his love-hate attitude towards blonde women and his need for their total submission. Beginning with the emotional rape Jo McKenna suffers with the disappearance of her son, the psychological stripping of Madeleine's identity in VERTIGO, Marion's violent death at the Bates Motel in PSYCHO in and culminating in the barbaric rape sequence of FRENZY, he possessed a desire to destroy that which he loved or desired the most. I notice how he makes Rod Taylor's character suddenly incapable of saving Melanie right at the end which heightens the viewers agony -- they want, they need her to survive the birds' attack . It's almost as if he, the Director as Ringmaster, were pushing the Heroine right to the edge of the abyss for one last moment before bringing her back to the relative safety of family. Even then, with the vague ending, Hitchcock seems to sort of wink at the audience and tell them that it's still not over -- and this is the sort of thing only a sadistic imp of a personality would do. THE BIRDS is his obsessions at its most explicit as they were implicit in VERTIGO and is the kind of cinematic experience that can always be rediscovered even when its tricks become evident. It's been considered Hitchcock's last masterpiece before returning to almost full form for FRENZY, and in many ways, it is the setup for the more graphic, cruel violence of the latter film.
Seaside gulls go mental in Hitchcock's macabre masterpiece! (by The_Void)
Despite spending most of his career within the realms of the thriller genre, Alfred Hitchcock hasn't restricted himself where variation is concerned. Most of his best work represents a different type of thriller, and The Birds is no different. It is often said that Psycho is Hitchcock's first foray into the horror side of the thriller, and it is indeed; but it's not the complete horror film that The Birds is. Often cited as an obvious influence for Night of the Living Dead, The Birds follows Melanie Daniels as she travels to the seaside town of Bodega Bay with a pair of lovebirds <more>
for Mitch Brenner, an eligible bachelor that she met in a pet shop in San Francisco. However, while there the birds of the coastal town begin to attack the residents and so begins a terrifying tale of man's feathered friends waging a war against humanity...It could be said that the plot of The Birds is ridiculous, and it is. The idea of birds, a type of animal that isn't aggressive, attacking humans despite living with us for millions of years is preposterous and is never likely to happen. However; it is here where the film's horror potency lies. Birds live with us in harmony; we're so used to them that for the most part we don't even realise that they're there, and the idea of something that we don't notice suddenly becoming malicious is truly terrifying. Especially when that something is unstoppable, as the birds are portrayed as being in this film. The fact that the birds' motive is never really explained only serves in making it more terrifying, as it would appear that somewhere along the line they've just decided to attack. Of course, the film could be interpreted as having Melanie's arrival, or the presence of the lovebirds as the cause for it all; but we don't really know. This bounds the film in reality as if there was a reason given, it might be improbable; but there's no true reason given although there are several theories , so it can't be improbable! The first forty minutes of the film feature hardly any - if any - horror at all. Hitchcock spends this part of the movie developing the characters and installing their situation in the viewers' minds, so that when the horror does finally come along, it has a definite potency that it would not have had otherwise. In fact, at first the birds themselves come across as a co-star in their own movie as there are brief references towards them, but they never get their full dues. However, once the horror does start, it comes thick and fast. Hitchcock, the master craftsman as always, uses his famous montage effects and never really shows you anything; but because you're being bombarded with so many different shots, you'd never realise it. Many people have tried to copy this technique, but most have failed. Hitchcock, however, has it down to an art and this is maybe the film that shows off that talent the best. There are numerous moments of suspense as well, many of which are truly nail biting. We see the birds amassing and ready to strike - but they don't. And this is much more frightening than showing an attack from the off. Hitchcock knows this. The final thirty minutes of The Birds is perhaps the most thrilling of his entire oeuvre. First, Hitchcock gives us an intriguing situation where numerous inhabitants of the town give their views on the events, and also explains the birds' situation with humans, even giving the audience an angle of expertise from an ornithologist's point of view. He then follows it up with a truly breathtaking sequence of horror that hasn't been matched since for relentless shock value.Hitchcock has made many great films, and this certainly stands up as one of them. Here, Hitchcock gives a lesson in film directing and creates a truly macabre piece of work in the process. I dread to think what the state of cinema would have been if Hitchcock had never picked up a camera, but luckily for us; he most certainly did.
Perfect Example of why Hitchcock is "The Master of Suspense" (by jluis1984)
This is one of Hitchcock's most well-known movies. Along with Psycho, it's the movie that most people identify with him. Many pages have been written about it and surely there will be more. I know that the superb technical aspects of the movie have been discussed a lot, so I'll try to focus on something I noticed yesterday when I watched it.It's scarier when there are no birds on screen. The tension, the silence, the uncertainty, the mystery. That's what suspense is about.I was amazed of how carefully Hitchcock builds the suspense in this movie. You watch the birds <more>
standing there, and they do not move, they are just waiting. Even when you think they are dumb something tells you they are thinking. They are analyzing your moves.This was possible with the aid of a top-notch screenplay, and great performances of the actors. This was probably the most difficult film for Hitchcock, specially for the technical aspects that were involved, but when you watch it, it really was worth the pain.The main plot is well-known: Melanie Daniels Tippi Hedren ,a young girl goes to Bodega Bay looking for Mitch Brenner Rod Taylor ,a handsome man she met in San Francisco, when suddenly, the birds start attacking humans by no reason. Pretty straight forward, and by this date very outdated, but Hitchcock adds his magic and the script spices this with the very complex relationships between the characters.The complex relationship between Mitch and his mother Lydia played by Jessica Tandy , and the conflict that she has with Melanie is very interesting and brings back memories from Psycho. Also, Melanie's relationship with her own mother and the bond that she creates with Lydia and Mitch's 11 years old sister Cathy Veronica Cartwright is fascinating.The scene when the four of them are trapped inside the house with the birds waiting outside is classic; not only is, as I wrote above, a perfect example of the use of suspense, it is an awesome study of the characters and how their relation grows. I think that this particular movie was main inspiration for George A. Romero's claustrophobic climax in his landmark film "Night of the Living Dead" 1968 .The technical aspects may be the focus of many studies, but the characters deserve to be praised, even the support cast with a few lines develop a personality of their own. The restaurant scene is Hitchcock at his best with witty dialogs that are both humorous and creepy. Very good ensemble.Overall, this is an awesome movie, many reviewers have said it, I know. But I wanted to point that beyond the technical advances this experimental movie features, it is a perfect example of why Alfred Hitchcock is considered, "The Master of Suspense".9/10. Classic.
"They're coming! They're coming!" were the words said by Tippi Hedren at the end of the coming attractions trailer for Alfred Hitchcock's 1963 film "The Birds". And boy did they come when the movie opened. This is a terrifying story about what could happen if our fine feathered friends turned on man. "The Birds", like the Master of Suspense's 1960 masterpiece "Psycho", has the ability to give people the chills. I found "The Birds" to be just a tad below "Psycho" it starts a little slow , but it's still a pretty <more>
scary movie. It features good acting by Tippi Hedren in her most famous role , Rod Taylor, Jessica Tandy 26 years before "Driving Miss Daisy" , Suzanne Pleshette, and Veronica Cartwright 16 years before "Alien" . Plus it has impressive special visual effects, and probably the scariest sound effects that I've ever heard. The sound effects alone give me the creeps. And it has its share of humorous moments throughout. "The Birds" is classic Hitchcock. If you like horror movies that are well made with a well told story, then you'll like this one.***1/2 out of four
This movie scared me to death when I was five. My parents had dumped the four of us at a theatre for the afternoon and two hours later, I was a swollen, puffy mess, still sobbing from the horror I had witnessed. That was 35 years ago, but you'd think it happened yesterday, the way my sister still sadistically laughs at me for being so frightened. I no longer react with fear upon seeing the movie but it is with a wizened eye that I now look at the scenes that had such impact: and they're still some of the scariest scenes put on film. Done entirely without music, the scenes unreel <more>
with alarming suspense. The theme of nature-run-amok has been made into mincemeat in the decades since, but seldom with such a deft touch. Much is made about the outdated special effects, but they are mild compared to the overusage in modern films. Tippi Hedren, whom Hitchcock spotted in a diet drink commercial and became his latest obsession, makes her debut as the cool and soignee Melanie Daniels, socialite-at-large. Hedren, who named her daughter Melanie Griffith after her character, subsequently had a less-than-stellar career, starring in such classics as *Teresa's Tattoo* and *Return to Green Acres*. The plot line involving Daniels and her pursuit of attorney Mitch Brenner definitely has problems, but seems necessary to create the atmosphere and set the stage for the real stars of the movie the birds. There are so many birds in this movie, billing and cooing with an innocence that belies their malevolence, that the nightmare unfolding on the screen must have been rivaled by the nightmare on the set. Tales of tranquilizing the birds and wiring them in place surely would cause distress among animal-rights activists today. Jessica Tandy is chill and formidable as Mitch's mother, Lydia, and Suzanne Pleshette, as schoolteacher Annie Hayworth, is one of the most interesting characters in the movie. And her final scene is most memorable, as she is found facedown in front of her home, pecked to death.The climactic attack that takes place at Mitch's home is sheer brilliance. As the birds are pecking through the door and gathering in the attack, there is a sense of madness unleashed that is breathtaking. The ambiguity of the ending has been roundly criticized but it is most successful in leaving behind a sense that the story is not quite over. Of course, it wasn't quite over it had to be insulted with a sequel, *The Birds II*. The film has acquired a certain campiness over the years that allows the sophisticated viewer to look past the obvious plot devices, and find an arch humor in the classic scenes. From Melanie getting clocked on the forehead by a seagull, to the crotchety ornithologist at the café, to the scene with the guy whose eyes have pecked out, to the amassing of the birds at the schoolhouse, where the children are singing what is surely the longest children's song ever written, the scenes are imprinted indelibly on our memories. So much so, that Tippi has become a popular Halloween costume just pin a bird in your wig, and you're instantly Melanie Daniels. It's easy to laugh at something that used to be scary, but is there anyone that doesn't think of *The Birds* whenever they see more than a dozen of them get together?
I don't think anyone was prepared in 1963 for the unexplained horror Hitchcock unleashed here hell, I wasn't; and I first saw it 25 years later . Now, 50 years later, it's still absolutely unique and remains a stand-alone picture which doesn't cease to amaze me.The tension Hitchcock slowly builds and the atmosphere of impending doom he creates are mesmerizing. This was probably the first true apocalyptic nightmare ever put on screen; a shocker, and the terror this film inspires is greatly enhanced by the fact that it refuses to give the viewer any answers. Nature just turns <more>
on humanity all of a sudden, and although it's just those adorable tiny creatures called "birds" that we see go amok, I was left with the impression that this might just be the start of something bigger, much much worse.This was Hitchcock, the man who - next to Chaplin and Disney - probably had the biggest impact on the evolution of cinema from the twenties to the early sixties, at the peak of his creativity. A terrifying work of beauty. My vote: 8 out of 10Favorite films: http://www.IMDb.com/list/mkjOKvqlSBs/Lesser-known Masterpieces: http://www.imdb.com/list/ls070242495/Favorite Low-Budget and B-Movies: http://www.imdb.com/list/ls054808375/Favorite TV-Shows reviewed: http://www.imdb.com/list/ls075552387/
What I love about this film is that it`s so understated . There is absolutely no attempt whatsoever to explain why the birds are turning against humanity , indeed there`s a scene in the cafe where a character points out that bird species joining together to wage war against the human race would be impossible , and the concept is totally ridiculous but Hitchcock and screenwriter Evan Hunter Using the basic premise of Du Maurier`s short story - the screenplay is almost totally original manage to leave the unsettling thought that this might just happen one day.The film is slightly dated in <more>
some ways , most notably the FX which are sometimes obvious back projection , but this was made in 1963 don`t forget . And THE BIRDS does contain some classic scenes like the discussions in the diner , the downbeat ending and the bit where the woman walks into the farmhouse and finds .... no I won`t spoil it for you . I rate this as Hitchcock`s best film . If you want to get your own back then make sure you stuff a turkey this Christmas