I saw "The Girl," directed by Julian Jarrold, and starring Toby Jones as Hitchcock and Sienna Miller as Tippi Hedren, and I found this--as did my partner, both lovers of Hitchcock--quite disturbing. Though I had read Spoto's "Spellbound by Beauty" and was duly warned as to the contents of the movie, it still was quite shocking to see this anomalous relationship develop from the beginning. Though the movie was made as a low budget film, intended for TV (HBO), it does an amazing job in concentrating on the essentials, basically the beginning of Hitchcock's discovery of Hedren in a TV ad, his hiring her, assigning her the role of Melanie Daniels in "The Birds," a film that was not easy to make, and subsequently using her in "Marnie," which some consider HItchcock's last materpiece. "The Girl" concentrates almost exclusively on the relationwhip of Hitchocock to Hedren, and it provides concrete and undisputed evidence that HItchcock DID indeed harrass Hedren, making his intentions known from the start, citing obscene limericks to her and attempting to kiss her in his car, and subsequently tormenting her on the set, unleashing a relentless barrage of real birds in the famous attic scene, reaching up to 43 takes, and causing her untold physical torment. In "Marnie," she asks out of her contract, when he asks her to "touch" him, but he refuses, stating that's the end of her career. She shows her revulsion of him in no uncertain terms, but she continues to work on the movie, defiantly,knowing full weel that is the end of her. The movie offers more highlights of their head to head collisions, and sometimes it is hard to watch. Hitchcock fancies himself as Pygmalion, the ancient sculptor who fell inb love with his statue of Galatea, and the gods granted him his wish and she came to life. Hedren tells him that he took a "live, breathing human being" and turned her to a statue. Sienna Miller is just fine in the role, and Toby Jones comes off as a diminutive pervert, shorter that the full-bodied HItchcock, definitely looking more sinister than the Master ever did. He lacks Hitchcock's devilish charm, and phlegmatic, laid-back hypnotic delivery that drew in audiences in his famous TV shows prologue. JOnes delivers only an intimation what Hitchcock would look like when propositioning, or sadistically tormenting Hedren on the set, in full view of his associates, many of whom were amazed at his obvious cruelty to her. Admirers of Hitchock may be revolted by the tearing down of their image of "The Master of Suspense," so adored by critics for what looks like a a century now. I am an admirerer of Hitchcock's art, and "The Birds" is actually one of my two or three favorite Hitchcock films. But make no mistake. Donald Spoto is a good film historian, and he would not make up this as a fantasy. There is something very disturbing here,regardless as to the merits of the movie, which by the way received three nominations in the Golden Gloves, Best Picture being one. Tippy Hedren appears in a (too) brief interview in the extras, and she confirms for the most part what is said in the movie. NO matter what Hitchcock's post-mortem is on this matter, Hedren still lives, and not even Miller's worthwhile efforts can recreate the image of the statuesque beauty, the classy lady that shows up in a small fishing village, only to it torn apart by nature's fury. In "Marnie" too Hedren was superrb. She was a novice, yes, but she stands out as one of the blonde sirens Hitchcock brought on the screen--Grace Kelly, Eva Marie Saint, Kim Novak--Hedren will stay up there with them.The film also shows that she had the guts not to quit.