Although this version is in color, features a different cast, and is set in the present day (i.e, 1998), it is closer to a shot-for-shot remake than most remakes, often copying Hitchcock's camera movements and editing, and Joseph Stefano's script is mostly carried over. Bernard Herrmann's musical score is reused as well, though with a new arrangement by Danny Elfman and recorded in stereo. Some changes are introduced to account for advances in technology since the original film and to make the content more explicit. Murder sequences are also intercut with surreal dream images. The film was both a commercial and critical failure.
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| - Although this version is in color, features a different cast, and is set in the present day (i.e, 1998), it is closer to a shot-for-shot remake than most remakes, often copying Hitchcock's camera movements and editing, and Joseph Stefano's script is mostly carried over. Bernard Herrmann's musical score is reused as well, though with a new arrangement by Danny Elfman and recorded in stereo. Some changes are introduced to account for advances in technology since the original film and to make the content more explicit. Murder sequences are also intercut with surreal dream images. The film was both a commercial and critical failure.
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| - Although this version is in color, features a different cast, and is set in the present day (i.e, 1998), it is closer to a shot-for-shot remake than most remakes, often copying Hitchcock's camera movements and editing, and Joseph Stefano's script is mostly carried over. Bernard Herrmann's musical score is reused as well, though with a new arrangement by Danny Elfman and recorded in stereo. Some changes are introduced to account for advances in technology since the original film and to make the content more explicit. Murder sequences are also intercut with surreal dream images. The film was both a commercial and critical failure.
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