The Birds


2h 1963
The Birds

Brief Synopsis

In a California coastal area, flocks of birds unaccountably make deadly attacks on humans.

Film Details

Genre
Horror
Mystery
Thriller
Adaptation
Release Date
Jan 1963
Premiere Information
New York opening: 28 Mar 1963
Production Company
Alfred J. Hitchcock Productions, Inc.
Distribution Company
Universal Pictures
Country
United States
Location
Bodega Bay, California, USA
Screenplay Information
Based on the short story "The Birds" by Daphne Du Maurier in The Apple Tree (London, 1952).

Technical Specs

Duration
2h
Sound
Mono (Westrex Recording System)
Color
Color (Technicolor)
Theatrical Aspect Ratio
1.85 : 1

Synopsis

While in a San Francisco pet shop, wealthy Melanie Daniels becomes attracted to Mitch Brenner, a young lawyer who is trying unsuccessfully to find a pair of lovebirds for his little sister Cathy. Acting on a sudden impulse, Melanie buys two of the birds and decides to deliver them to Mitch's home on an island in Bodega Bay. After secretly leaving the birds in the Brenner house, she is returning to the mainland by motor boat when a seagull swoops down on her, gashes her forehead, and then flies away. Mitch meets her at the mainland pier and brings her back to his home. The next day a group of birds attack Cathy and her friends during a birthday party. That evening hundreds of finches fly down a chimney and terrorize Melanie and the Brenners. Panic in the small town mounts as birds murder a chicken farmer by pecking him to death, create a flash fire at a gas station, and swarm over the local children as they leave school. Following the death of schoolteacher Annie Hayworth, most of the townspeople leave their homes and head for San Francisco. Mitch boards up all entrances to his home and awaits the onslaught. The birds dive against the house, tearing at shingles and gnawing at doors, but they are unable to get inside. When Melanie goes to the attic, however, she is attacked by a roomful of crows who have made a hole in the roof. Mitch manages to rescue her but realizes the house is no longer safe. With the coming of morning, the birds are momentarily quiet. Taking advantage of the silence, he puts Melanie and his family into his car and leaves for San Francisco as thousands of birds watch their departure.

Photo Collections

The Birds - Lobby Cards
Here are a few Lobby Cards from Alfred Hitchcock's The Birds (1963). Lobby Cards were 11" x 14" posters that came in sets of 8. As the name implies, they were most often displayed in movie theater lobbies, to advertise current or coming attractions.

Videos

Movie Clip

Birds, The (1963) - Love Birds San Francisco's Union Square, Tippi Hedren strolls into the pet shop (instigating the director's cameo), client of nutty Mrs. MacGruder (Ruth McDevitt), then approached by customer Mitch (Rod Taylor), all very routine so far, opening Alfred Hitchcock's The Birds, 1963.
Birds, The (1963) - A Gull Hit Her San Franciscan Melanie (Tippi Hedren) in her elaborate flirtation with Bodega Bay lawyer Mitch (Rod Taylor) has just dropped off the love birds at his house, sneaking off in the motorboat as he chases by land, when director Alfred Hitchcock makes his first direct attack, in The Birds, 1963.
Birds, The (1963) - Lost His Way In The Dark Stuck in Bodega Bay for the evening, San Francisco socialite Melanie (Tippi Hedren) engaged with local Annie (Suzanne Pleshette) in intense chat about Mitch, who interests them both, all of which is one big "MacGuffin" from director Alfred Hitchcock, in The Birds, 1963.
Birds, The (1963) - That Makes Three Times Melanie (Tippi Hedren) and Mitch (Rod Taylor) have just finished another impertinent chat on the hillside when, returning to the birthday party, the first all-out assault begins, Annie (Suzanne Pleshette) helping save the kids, in Alfred Hitchcock's The Birds, 1963.
Birds, The (1963) - That Man's Lighting A Cigar! Mitch (Rod Taylor) is failing to get citizens at the diner to unite in action when another bird attacks across the street at the gas station, director Alfred Hitchcock playing with sound and fire, Melanie (Tippi Hedren) nearly victimized, a famous sequence from The Birds, 1963.

Trailer

Hosted Intro

Promo

Film Details

Genre
Horror
Mystery
Thriller
Adaptation
Release Date
Jan 1963
Premiere Information
New York opening: 28 Mar 1963
Production Company
Alfred J. Hitchcock Productions, Inc.
Distribution Company
Universal Pictures
Country
United States
Location
Bodega Bay, California, USA
Screenplay Information
Based on the short story "The Birds" by Daphne Du Maurier in The Apple Tree (London, 1952).

Technical Specs

Duration
2h
Sound
Mono (Westrex Recording System)
Color
Color (Technicolor)
Theatrical Aspect Ratio
1.85 : 1

Award Nominations

Best Special Effects

1964

Articles

The Birds


How does one top a critical and box office success like Psycho (1960)? That was the challenge facing Alfred Hitchcock in the wake of his most unconventional picture to date. And it took him three years - the longest break between pictures in his entire career - to come up with an even more challenging project, one that featured an unknown lead actress, sound effects instead of a conventional music score, and thousands of birds (a mixture of real and animated ones). Executives at Universal Pictures, the studio backing the project, were justifiably nervous.

Based on a novella by Daphne Du Maurier first published in Good Housekeeping in 1952, The Birds required the biggest budget yet for one of Hitchcock's films - $3.3 million. It was the third time the director had adapted the work of Du Maurier for the screen (he had previously filmed Jamaica Inn in 1939 and Rebecca in 1940), despite the fact that he professed to have no special affection for her writing. His choice of material though might have been motivated by several other factors. He had recently read a newspaper account of a seabird attack in the coastal town of Capatolla, California and fear of a nuclear war with Cuba and Russia was pervasive throughout the country (the Cuban Missile Crisis, in fact, occurred during the final months of shooting on The Birds). While the finished film certainly offers a doomsday vision of the world - Federico Fellini proclaimed it "an apocalyptic poem" - The Birds is more complex and abstract than it appears on the surface and incorporates biographical details from Hitchcock's life into a fictional framework - his boyhood love of bird-watching, the London air raids of WWII (imagine Nazi war planes as dive-bombing sea gulls) and an obsession with icy blonde heroines.

The storyline of The Birds unfolds over a five day period, opening with a flirtation between socialite Melanie Daniels (Tippi Hedren) and lawyer Mitch Brenner (Rod Taylor) at a San Francisco pet shop and culminating with their escape from a besieged home in Bodega Bay after a series of terrifying bird attacks. Certainly the idea of nature run amok is central to the narrative but so are other themes, particularly Melanie's own search for a mother figure (having been abandoned by her own years before) and a general fear of loneliness and entrapment. Over the years film scholars and critics have come to read other meanings into the movie; some see it as a metaphorical Western with the birds replacing Indians as the demonized 'other.' And some see the film as an allegory about sexual repression. Even today, The Birds continues to fascinate with its ambiguous ending in which the bird attacks are never explained.

In early drafts of the screenplay by Evan Hunter - a first time collaborator with Hitchcock whose novel The Blackboard Jungle became a hit movie in 1955 - there was a concerted effort to provide an explanation for the bird attacks even though they remained a mystery in the original Du Maurier novella. Yet none of the script changes - Melanie's suggestion of a species war against humans or political parallels to the world outside (the use of radio broadcasts from President Kennedy) - pleased Hitchcock and he continued to fuss over the screenplay (with creative input from actor Hume Cronyn - whose wife Jessica Tandy was cast in the film - and fiction writer V. F. Pritchett) after Hunter left to work on his next script, Marnie. Eventually, Hitchcock opted to remain ambiguous, eliminating a final bird attack on Mitch's departing car in favor of an announcer stating on the car radio, "It appears that the bird attacks come in waves with long intervals between. The reason for this does not seem clear yet." Hunter, however, was unhappy with the final film, stating in Patrick McGilligan's biography, Alfred Hitchcock: A Life in Darkness and Light (Regan Books), "Hitch allowed his actors outrageous liberties with what I had written...he juggled scenes and cut scenes and even added one scene." [The latter is a reference to a private conversation between Mitch and Melanie at the children's birthday party].

Just as crucial as the screenplay was the film's casting. With his preferred female lead, Grace Kelly, unavailable for work, Hitchcock considered many actresses for the part of Melanie - Pamela Tiffin, Yvette Mimieux, Carol Lynley, and Sandra Dee - before hiring Tippi Hedren, a model he'd seen in a commercial for Pet Milk on the Today show. Ms. Hedren had no prior acting experience when she won the role and Hitchcock gave her little direction in that regard besides suggesting she might draw inspiration from the Tallulah Bankhead character in his earlier Lifeboat (1944), "starting out as a jaded sophisticate and becoming more natural and humane in the course of her physical ordeal." But in terms of Hedren's personal appearance, the director took an almost obsessive interest, personally dictating every detail of her makeup, wardrobe, jewelry and hairstyle.

Much more nerve-wracking for the first-time actress, however, was working with live birds. For the first bird attack on Melanie, a sea gull was trained to land on Hedren's head, while a dummy was used for the close-ups. While the other actors were also subjected to bites and scratches (ground meat or anchovies smeared on their hands attracted the birds), Hedren clearly suffered more than any other cast member, particularly during her horrific attic encounter at the end. In order for the terror to be real, Hitchcock insisted that real birds be used and had propmen hurl trained gulls at Hedren. According to McGilligan's biography, "This extraordinary scene, which occupies roughly one minute of screen time, took an entire week to shoot..."By Thursday," Hedren remembered, "I was noticeably nervous. By Friday they had me down on the floor with the birds tied loosely to me with elastic bands which were attached through the peck-hole in my dress. Well, one of the birds clawed my eye and that did it. I just sat and cried." Hedren survived the ordeal, however, and even got a compliment from Cary Grant, visiting the set that day, who told her, "You're one brave lady."

And now a few words about the real star of the film - the special effects of Ub Iwerks, who won a special Oscar® in 1959 for his advancements in optical printing and was best known for his innovative animation work for Walt Disney in the early 1920s. Iwerks was charged with the daunting task of incorporating animated and live birds in the same shot for numerous sequences in the film; the most famous being the attack on the schoolchildren and one, shot from a birds'-eye view of the harbor, as thousands of gulls descend on the town, attracted by a freak gasoline fire. As a result, the film won an Oscar® nomination (the only one) for Best Special Effects but lost to Cleopatra. Just as deserving for Oscar® consideration was the startling soundtrack which combined natural bird sounds with electronic effects. According to McGilligan's biography, Hitchcock "wanted the birdcalls and noises performed on an advanced instrument he first encountered on Berlin radio in the late 1920s - the electroacoustic Trautonium, invented by one Dr. Fredrich Trautonium and developed further by Oskar Sala. Sala and Remi Gassman, a Trautonium composer, lived in Germany, and they agreed to collaborate with [Bernard] Herrmann on a unique sound track..."

Despite a shrewd ad campaign topped by the amusing tag line - "The Birds is Coming," Hitchcock's follow-up picture to Psycho received generally harsh reviews from American critics with many criticizing Hedren's stylized, mannequin-like performance; The New Yorker called the film a "sorry failure," Time accused it of "silly plot boiling," and Newsweek wrote that the central premise was "inexpertly handled." Still, the film was successful enough with audiences to make it one of the top twenty films of 1963. Of course, The Birds is now seen as one of Hitchcock's most personal and challenging films. On a purely technical level alone, the film is often astonishing. The ending is particularly memorable, "weaving the actors together seamlessly with a horde of live, dummy, and optical-illusion birds, against a background which is one of Albert Whitlock's finest matte paintings. Thirty-two different exposures were required for the film's final image..."the most difficult single shot I've ever done," said Hitchcock." (from Patrick McGilligan's Alfred Hitchcock: A Life in Darkness and Light.

Producer/Director: Alfred Hitchcock
Screenplay: Evan Hunter, Daphne Du Maurier (story)
Cinematography: Robert Burks
Film Editing: George Tomasini
Art Direction: George Milo
Music: Bernard Herrmann
Cast: Rod Taylor (Mitch Brenner), Tippi Hedren (Melanie Daniels), Jessica Tandy (Lydia Brenner), Suzanne Pleshette (Annie Hayworth), Veronica Cartwright (Cathy Brenner), Ethel Griffies (Mrs. Bundy).
C-120m. Closed captioning. Letterboxed.

by Jeff Stafford
The Birds

The Birds

How does one top a critical and box office success like Psycho (1960)? That was the challenge facing Alfred Hitchcock in the wake of his most unconventional picture to date. And it took him three years - the longest break between pictures in his entire career - to come up with an even more challenging project, one that featured an unknown lead actress, sound effects instead of a conventional music score, and thousands of birds (a mixture of real and animated ones). Executives at Universal Pictures, the studio backing the project, were justifiably nervous. Based on a novella by Daphne Du Maurier first published in Good Housekeeping in 1952, The Birds required the biggest budget yet for one of Hitchcock's films - $3.3 million. It was the third time the director had adapted the work of Du Maurier for the screen (he had previously filmed Jamaica Inn in 1939 and Rebecca in 1940), despite the fact that he professed to have no special affection for her writing. His choice of material though might have been motivated by several other factors. He had recently read a newspaper account of a seabird attack in the coastal town of Capatolla, California and fear of a nuclear war with Cuba and Russia was pervasive throughout the country (the Cuban Missile Crisis, in fact, occurred during the final months of shooting on The Birds). While the finished film certainly offers a doomsday vision of the world - Federico Fellini proclaimed it "an apocalyptic poem" - The Birds is more complex and abstract than it appears on the surface and incorporates biographical details from Hitchcock's life into a fictional framework - his boyhood love of bird-watching, the London air raids of WWII (imagine Nazi war planes as dive-bombing sea gulls) and an obsession with icy blonde heroines. The storyline of The Birds unfolds over a five day period, opening with a flirtation between socialite Melanie Daniels (Tippi Hedren) and lawyer Mitch Brenner (Rod Taylor) at a San Francisco pet shop and culminating with their escape from a besieged home in Bodega Bay after a series of terrifying bird attacks. Certainly the idea of nature run amok is central to the narrative but so are other themes, particularly Melanie's own search for a mother figure (having been abandoned by her own years before) and a general fear of loneliness and entrapment. Over the years film scholars and critics have come to read other meanings into the movie; some see it as a metaphorical Western with the birds replacing Indians as the demonized 'other.' And some see the film as an allegory about sexual repression. Even today, The Birds continues to fascinate with its ambiguous ending in which the bird attacks are never explained. In early drafts of the screenplay by Evan Hunter - a first time collaborator with Hitchcock whose novel The Blackboard Jungle became a hit movie in 1955 - there was a concerted effort to provide an explanation for the bird attacks even though they remained a mystery in the original Du Maurier novella. Yet none of the script changes - Melanie's suggestion of a species war against humans or political parallels to the world outside (the use of radio broadcasts from President Kennedy) - pleased Hitchcock and he continued to fuss over the screenplay (with creative input from actor Hume Cronyn - whose wife Jessica Tandy was cast in the film - and fiction writer V. F. Pritchett) after Hunter left to work on his next script, Marnie. Eventually, Hitchcock opted to remain ambiguous, eliminating a final bird attack on Mitch's departing car in favor of an announcer stating on the car radio, "It appears that the bird attacks come in waves with long intervals between. The reason for this does not seem clear yet." Hunter, however, was unhappy with the final film, stating in Patrick McGilligan's biography, Alfred Hitchcock: A Life in Darkness and Light (Regan Books), "Hitch allowed his actors outrageous liberties with what I had written...he juggled scenes and cut scenes and even added one scene." [The latter is a reference to a private conversation between Mitch and Melanie at the children's birthday party]. Just as crucial as the screenplay was the film's casting. With his preferred female lead, Grace Kelly, unavailable for work, Hitchcock considered many actresses for the part of Melanie - Pamela Tiffin, Yvette Mimieux, Carol Lynley, and Sandra Dee - before hiring Tippi Hedren, a model he'd seen in a commercial for Pet Milk on the Today show. Ms. Hedren had no prior acting experience when she won the role and Hitchcock gave her little direction in that regard besides suggesting she might draw inspiration from the Tallulah Bankhead character in his earlier Lifeboat (1944), "starting out as a jaded sophisticate and becoming more natural and humane in the course of her physical ordeal." But in terms of Hedren's personal appearance, the director took an almost obsessive interest, personally dictating every detail of her makeup, wardrobe, jewelry and hairstyle. Much more nerve-wracking for the first-time actress, however, was working with live birds. For the first bird attack on Melanie, a sea gull was trained to land on Hedren's head, while a dummy was used for the close-ups. While the other actors were also subjected to bites and scratches (ground meat or anchovies smeared on their hands attracted the birds), Hedren clearly suffered more than any other cast member, particularly during her horrific attic encounter at the end. In order for the terror to be real, Hitchcock insisted that real birds be used and had propmen hurl trained gulls at Hedren. According to McGilligan's biography, "This extraordinary scene, which occupies roughly one minute of screen time, took an entire week to shoot..."By Thursday," Hedren remembered, "I was noticeably nervous. By Friday they had me down on the floor with the birds tied loosely to me with elastic bands which were attached through the peck-hole in my dress. Well, one of the birds clawed my eye and that did it. I just sat and cried." Hedren survived the ordeal, however, and even got a compliment from Cary Grant, visiting the set that day, who told her, "You're one brave lady." And now a few words about the real star of the film - the special effects of Ub Iwerks, who won a special Oscar® in 1959 for his advancements in optical printing and was best known for his innovative animation work for Walt Disney in the early 1920s. Iwerks was charged with the daunting task of incorporating animated and live birds in the same shot for numerous sequences in the film; the most famous being the attack on the schoolchildren and one, shot from a birds'-eye view of the harbor, as thousands of gulls descend on the town, attracted by a freak gasoline fire. As a result, the film won an Oscar® nomination (the only one) for Best Special Effects but lost to Cleopatra. Just as deserving for Oscar® consideration was the startling soundtrack which combined natural bird sounds with electronic effects. According to McGilligan's biography, Hitchcock "wanted the birdcalls and noises performed on an advanced instrument he first encountered on Berlin radio in the late 1920s - the electroacoustic Trautonium, invented by one Dr. Fredrich Trautonium and developed further by Oskar Sala. Sala and Remi Gassman, a Trautonium composer, lived in Germany, and they agreed to collaborate with [Bernard] Herrmann on a unique sound track..." Despite a shrewd ad campaign topped by the amusing tag line - "The Birds is Coming," Hitchcock's follow-up picture to Psycho received generally harsh reviews from American critics with many criticizing Hedren's stylized, mannequin-like performance; The New Yorker called the film a "sorry failure," Time accused it of "silly plot boiling," and Newsweek wrote that the central premise was "inexpertly handled." Still, the film was successful enough with audiences to make it one of the top twenty films of 1963. Of course, The Birds is now seen as one of Hitchcock's most personal and challenging films. On a purely technical level alone, the film is often astonishing. The ending is particularly memorable, "weaving the actors together seamlessly with a horde of live, dummy, and optical-illusion birds, against a background which is one of Albert Whitlock's finest matte paintings. Thirty-two different exposures were required for the film's final image..."the most difficult single shot I've ever done," said Hitchcock." (from Patrick McGilligan's Alfred Hitchcock: A Life in Darkness and Light. Producer/Director: Alfred Hitchcock Screenplay: Evan Hunter, Daphne Du Maurier (story) Cinematography: Robert Burks Film Editing: George Tomasini Art Direction: George Milo Music: Bernard Herrmann Cast: Rod Taylor (Mitch Brenner), Tippi Hedren (Melanie Daniels), Jessica Tandy (Lydia Brenner), Suzanne Pleshette (Annie Hayworth), Veronica Cartwright (Cathy Brenner), Ethel Griffies (Mrs. Bundy). C-120m. Closed captioning. Letterboxed. by Jeff Stafford

Quotes

I'm neither poor nor innocent.
- Melanie Daniels
What do you want?
- Mitch
I thought you knew. I want to go throughout life jumping into fountains naked.
- Melanie Daniels
He's got a client who shot his wife in the head six times. Six times, can you imagine it? I mean, even twice would be overdoing it, don't you think?
- Cathy Brenner
Oh, I don't give a damn what you believe.
- Melanie Daniels
Just what is it you're looking for, sir?
- Melanie Daniels
Lovebirds.
- Mitch Brenner
Lovebirds, sir?
- Melanie Daniels
Yes. I understand there are different varieties. Is that true? Melanie Daniels Oh yes, there are.
- Mitch Brenner
Well, uh, these are for my sister, for her birthday, see, and uh, as she's only gonna be eleven, I, I wouldn't want a pair of birds that were... too demonstrative. Melanie Daniels I understand completely.
- Mitch Brenner

Trivia

Tippi Hedren was actually cut in the face by a bird in one of the shots.

There is no musical score for the film.

at the start of the film walking two dogs past the pet shop (the dogs were actually his own).

Hitchcock tried to hire Joseph Stefano (writer of Psycho (1960)) to write the script, but he wasn't interested in the story. The final screenplay (from a Daphne Du Maurier story) was written by Evan Hunter, best known to detective story fans under his pen name "Ed McBain".

Hitchcock spotted Tippi Hedren in a diet drink commercial.

Notes

Alfred J. Hitchcock Productions copyrighted The Birds twice; on April 20, 1963 with a running time of 120 minutes and on March 28, 1963 with a running time of 119 minutes. In April 2005, Hollywood trade papers announced that director Michael Bay was in negotiations to direct a remake of The Birds for Mandalay Pictures for a Universal release.

Miscellaneous Notes

Released in United States Spring March 28, 1963

Re-released in United States August 21, 1998

Re-released in United States on Video May 23, 1995

Released in United States Spring March 28, 1963

Re-released in United States August 21, 1998 (Film Forum; New York City)

Re-released in United States on Video May 23, 1995