Lately there is a trend of movies that ineffectively try to be scary. With a rare exception, these movies tend to fall into two distinct categories: those that are merely teeny bopper fare dressed up with the occasional scary scene, and those that rely on shock value. Unfortunately, the directors of these movies seem to learn little from the master of suspense himself, Alfred Hitchcock. The great thing about Hitchcock’s films is that they are not scary in the traditional sense. In fact, most of his films are not even horror films–they are a combination of mystery, drama and even comedy. Hitchcock is a master of subtly combining different genres.

When they are scary, however, they are not the blood curdling, scream-out-loud brand of scary. Hitchcock’s films are scary in a psychological sense.

Instead of the ridiculous chainsaw-wielding maniacs and cyber-punk vampires in contemporary movies, Hitchcock’s protagonists are real people. This makes his films even more disturbing, because the sociopaths that populate his plots are easy to relate to.

Picking a favorite Hitchcock movie is not an easy task. Everyone has their favorite. Like discussing politics and choosing a favorite Beatle, selecting the best Hitchcock movie is a conversation that can easily end in hand-to-hand combat.

There are many great Hitchcock movies, but here are just a few that are great to start out with if you are new to the scene.

“Psycho”

Arguably the best and most innovative Hitchcock movie is “Psycho.” In it, actress Janet Leigh plays Marion Crane, an office worker who steals $40,000 from her boss and decides to escape to California to join her boyfriend Sam and start a new life.

Unfortunately, Marion takes a detour and decides to rest at the Bates Motel. The motel is managed by Norman Bates (portrayed by Anthony Perkins), a seemingly mild-mannered guy with an unusually close relationship to his mother.

For the rest of the story one should definitely see the movie. It is universal pop-culture knowledge that one of the main characters is murdered by the middle of the film in an infamous shower scene, a plot development that was shocking when the movie first appeared in 1960.

Anthony Perkins’s subtle acting in the movie is great. He has you actually believing for a while that Norman Bates is just an overgrown kid, skipping around and eating jelly beans. The cinematography and editing in the movie is excellent. Shot in dramatic black and white, the film uses unusual angles and jump-cuts, rivaling Citizen Kane in sophistication. None of that Blair Witch hand-held camera junk here.

“Rear Window”

Another Hitchcock classic is 1954’s “Rear Window”. In it, Jimmy Stewart plays a photographer who has broken his leg and is confined to his apartment. In order to pass the time he spies on his neighbors. Eventually he witnesses a situation that leads him to believe that one of his neighbors is a killer. The rest of the movie Stewart attempts to trap the suspected murderer.

The novel thing about “Rear Window” is that all of the action takes place from the viewpoint of Stewart’s apartment. What we see is what Stewart and his visitors see. Therefore, the mystery of whether or not the neighbor is really a murderer is unsolved until the conclusion.

“The Birds”

To some critics, “The Birds” is not one of Hitchcock’s better films. They suggest that with this picture Hitchcock was appealing to that B-movie genre of film that included flicks about giant killer ants, radioactive tarantulas and man-eating bunnies. This was hardly the stuff of Hitchcock’s psychological thrillers.

However, these critics miss the point. “The Birds” was more masterfully directed than any of those B-movies. The film has great cinematography and innovative special effects. Most of all, it is just plain fun.

Tippi Hedrin, the chilly blonde who was a staple in Hitchcock’s movies, plays the lead character Melanie Daniels. However, the real main characters of the film are the birds, who fly around violently attacking innocent bystanders.

It’s a guilty pleasure to watch these sadistic suckers pecking at every moving target from school children to old ladies. What’s even funnier is that the movie gives no rationale as to why the seagulls and crows have teamed up to take vengeance on the humans. Its like they’re just having a bad day and have decided to run amok.

While the killer birds seem campy at times, there are moments where the violence is surprisingly gory. Possessing both technicolor and total creative freedom, Hitchcock’s blood is redder and more abundant than ever.

A curious thing in the movie is the almost total lack of soundtrack. Throughout the film we mostly hear the haunting squawks and flapping feathers of the birds, giving an eerie and surreal atmosphere to the film.

“Marnie”

On the other end of the Hitchcock spectrum is 1964’s “Marnie”. In “Marnie” the characters are psychologically complex with hidden motivations.

Unlike her underutilized character in “The Birds”, Hedrin is great in the title role for “Marnie.” At times she seems to be a cunning thief and at other times a terrified victim.

Sean Connery is also great in the role of Mark Rutland, the unfortunate man who falls for Marnie. The character of Rutland also shifts between extremes. He seems at times to be a kind man trying to help Marnie deal with her psychological problems, and at other times he seems to be a sexual predator.

Although tame by today’s standards, “Marnie” quite racy for it’s own time due to it’s subject matter.

As with most of Hitchcock’s movies, explaining too much of the plot of “Marnie” gives away the mystery. It’s just safe to say that the movie shares the great cinematography and direction that is characteristic of Hitchcock’s work, and it’s great that Hitchcock had technicolor since bright red plays such an important role in the film.

These four movies only touch the tip of the iceberg when it comes to Hitchcock. As far as classic movies are concerned, nothing beats them. The characters, dialogue, and relatively slow pacing may seem dated to the contemporary movie viewer, but as one gets into the films they become instant fans. Of course, an unfortunate side effect may be a paranoid fear of showers, birds, and most of your neighbors, but it’s a pretty good trade-off.