It’s to Hitchcock’s credit that he never explains away the cause of these bizarre events. You can interpret them any number of ways. Is it a Cold War allegory? Is it about repressed sexuality? Or is it simply a horror story?
It’s strange in other ways, too. The relationship between Melanie (Tippi Hedren) and Mitch (Rod Taylor) doesn’t follow the usual love-story progression. And the age difference between Mitch and his younger sister is also striking. The widowed mother Lydia (Jessica Tandy) is also deeply odd. Initially, I thought the natural disturbance was a reflection of her grief manifested in nature – and it's possible that this is another of the many intended interpretations.
The ending satisfies because it’s ambiguous and doesn’t offer any easy solutions.
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