I was maybe about 14 years old when I first saw Hitchcock's(versus Vertigo's psychedelia)hypnagogic (just listen to the silence) thriller masterpiece and my world and perception of cinema were rocked by some online thinkpiece that*suggested*a parallel between the bird attacks and Lydia's doubt, shame,fear,jealousy and repressed wishes. A perfect film then, now and forever,that gripped me and will never let go.[cont.]
There is no motor driving it, no music to tether it, and nothing to hold it aloft apart from that up-draft of sensual atmosphere and existential dread. Hitchcock reportedly worried at length over how to wrap things up. He eventually ditched the scripted final scene in favour of a non-resolution, an open ending, although I would have liked better a more consistent ending.
3-4. I'm ambivalent about qualifying this one. It's curious that the story of Melanie's relationship with the family wasn't really taken anywhere. It seemed like prime territory for the sort of psycho thriller fun Hitchcock's been known for. But he deserves serious kudos for managing to make birds genuinely scary, when I'm sure most people don't particularly take them very seriously.