The problem is, I think, mostly down to the lack of access to Psycho itself. It seems strange that they were so determined to make the film after Universal withdrew access to Psycho. I think though that they could have done more with the work between Hitchcock and his collaborators. Herrmann is such an important figure (wrongly addressed as ‘Bernie’ in the film, when it should have been ‘Benny’) and so was Saul Bass (who does appear in the cast list, but I can’t remember the character in the film).

The casting is good, though I found Hopkins less than convincing. And Mirren is not only too ‘svelte’ but she bears little relationship to Alma in real-life. And her supposed role in the film appears to be exaggerated. Rebello only mentions her three times. I accept that she is an important collaborator and due more than critics ‘staring through her’.

There are at least two interesting aspects. One was the thought that perhaps the Alfred and Alma union was more pragmatic than we think. Both are skilled filmmakers, but they also possess very different talents, the combination of which might be the most important factor in the film work. Maybe that is what the film should have essayed.

The other thing is that the film gives little credit to Hitchcock’s other collaborators: Herrmann appears briefly and there appears to be no sign of Saul Bass! So the film continues the construction of the Hitchcock myth, in which the director himself was a key player.