It's very difficult to keep the line between the past and the present.

Do you believe that someone out of the past can enter and take possession of a living being?

We may be true with the past, but the past is not through with us.

Welcome back to The Next Picture Show, a movie The Week podcast to go to a classic film and the way it shaped our thoughts on our recent release. I'm Keith Phipps, here again with... Tasha Robinson. And Scott Tobias. No, Genevue Kossi on this episode, who's begged off to try to watch old movies in a pill-induced haze. But we're happy to have back pop culture critic, Roxanna Hadati. Glad you could make it back, Roxanna. Thanks, guys. Should I not take all these pills then? Should I not do that? We will call the cops on you. We're watching you through your window shades right now. I will hold off for now. These second episodes tend to get a little groggy anyway, so I don't think anyone's going to notice.

On last week's show, we talked about Rear Window, Alfred Hitchcock's classic thriller. This week we're discussing a film that Tips its hat to Hitchcock a couple of times, including via television briefly seen playing Rear Window. It's a case of hanging a lantern on an obvious influence. The Joe writes adaptation of a best-selling novel by A.J. Finn would hardly be the first film to owe a debt to Hitchcock in general,

in rear window in particular. A generation of Hitchcock devotees willing to take the bastard's

suspenses lessons to lure it and stylistically daring extremes had emerged even before

Hitchcock's death via the Italian Jallo genre and Brian DePama and

others.

Wright's latest tries to operate in that tradition of creative derivation, casting Amy Adams

as a decorophobic therapist who sees something suspicious across the way.

Shortly after spending the evening with a woman, played by Julian Moore, she believes to be

the wife of Alistair Russell, played by Gary Oldman, her new neighbor across the way. But is she just

being paranoid? Can even she know through the haze of chemicals coursing through her veins?

Working from a script by Tracy Lutz, write piles on one daring technique after another, from

flashes of red to sweeping camera movements to theatrical

confrontations.

Is it a continuation of the innovations Hitchcock initiated or an attempt to cover up weak

material?

Let's talk it over after the break.

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