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Post by Mighty Jack on Jun 11, 2010 23:08:08 GMT -5
#6 The 39 Steps (1935) A man in London tries to help a counterespionage agent. But when the agent is killed and he stands accused, he must go on the run to both save himself and also stop a spy ring trying to steal top-secret information. (IMDB) Cast: Robert Donat as Richard Hannay Madeleine Carroll as Pamela Lucie Mannheim as Annabella Smith Godfrey Tearle as Professor Jordan Peggy Ashcroft as Margaret, the crofter's wife John Laurie as John, the crofter Helen Haye as Mrs. Louisa Jordan, the professor's wife Frank Cellier as Sheriff Watson Wylie Watson as Mr. Memory The grandfather of “North by Northwest”, this tightly woven spy story establishes many of the themes we’ll see in future Hitchcock tales. It is his first truly great film, the best of his early British era… and it is very British - More understated and urbane than his American films, it never the less shows the director in full stride. Unflappable Robert Donat (Mr Chips) was a delight in the leading role. Madeline Carroll was Alfred’s first “cool blonde” and became an in demand star after this picture. And my lord, there's an 18 year old Peggy Ashcroft in a bit part. I've only known her as an old lady (She won an Oscar for "A Passage to India") Memorable scenes: The closing sequence with Mr. Memory on stage and his dying explanation while Chorus girls dance in the background. Memorable Quote: Robert Donat as Richard Hannay, shouts to Mr. Memory... "What are The 39 Steps?!"Hitchcock Cameo: About 7 minutes in he’s the man tossing litter while the bus pulls up for Robert Donat and Lucie Mannheim to leave the theatre. Of Note: Hitchcock told Truffaut... "The whole idea is that man is doomed by his sense of duty. Mr. Memory knows what the thirty-nine steps are, and when he is asked the question, he is compelled to give the answers. The schoolteacher in The Birds does for the same reason."
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Post by Justin T on Jun 11, 2010 23:19:10 GMT -5
Havent watched Marnie or Sabotage yet.
The Birds and The 39 Steps, love em both. Birds I havent seen in awhile.(dont own it on DVD yet) I watched The 39 Steps for the first time last year when I got it on Criterion. That and Lady Vanishes are my favorites of his early British period so far, but Im looking foward to watching more of them.
Its funny you mentioned North by Northwest, I thought of it too the first time I watched 39 Steps. Its definatly a prototype of his later classic
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Post by Mighty Jack on Jun 14, 2010 23:08:41 GMT -5
And now our final week, the final 5. It's been a fun month o' putting this stuff together. The one over riding factor in making this list was that my enjoyment took precedence over any perceived artistic/cinematic merit. While that was very important too, the entertainment I derived was the deciding component (which is why Foreign Cor. could be listed over Rebecca, and Sabotage could break into the top 10). But my final 5, well they look a lot more traditional. They are not only artistic pieces, but entertained the hell out of me... #5 Strangers on a Train (1951) A psychotic socialite confronts a pro tennis star with a theory on how two complete strangers can get away with murder...a theory that he plans to implement (IMDB) Cast:Farley Granger as Guy Haines Ruth Roman as Anne Morton Robert Walker as Bruno Anthony Leo G. Carroll as Senator Morton Patricia Hitchcock as Barbara Morton Laura Elliott as Miriam Joyce Haines Marion Lorne as Mrs. Anthony Jonathan Hale as Mr. Anthony Strangers is as nail bitingly brilliant today as it was when it was released. And it features some of Hitchcock’s finest work. In Director M. Night Shyamalan's “DVD appreciation”. He praises Alfred’s ability to blend character values and plot. Most directors separate the two, ‘here’s a scene that propels the plot’ – ‘here’s a scene that reveals character’. Night points out that in the sequence at the Fair, when Bruno stalks his prey, Alfred impressively merges both - he gives us suspense, story and offers up clues as to who Bruno is and why he’s an unstable, scary (and strong) foe. The film is all about the details, where doubles and crisscrosses pepper the screen (and locating them can be half the fun in repeat viewings). Robert Walker as Bruno was pitch perfect; one of filmdom’s most memorable villains - and he should have received an Oscar (or a nomination at the least) for the performance. Bruno is an odd, complex psychopath; he’ll help a blind man across the street then just as easily childishly pop a little boys balloon. I thought Farley Granger was also well cast as the object of Bruno’s attention. Some feel a stronger actor should have played the part, but a stronger actor (Stewart or Grant) would have undercut Walkers power. We never would worry that Cary Grant couldn't match wits with Walker (they'd be equals) but Granger gives you this touch of weakness. He's handsome, can be forceful, but there's a little twitch in his eyes that says, he's not tough enough to tangle with the bad guy. Memorable scenes: The scenes where Robert Walker stalks his prey at a fair is quintessential Hitchcock - Mother and Bruno have a nice, weird chat as Bruno inspects his finger nails - Bruno loses Guy's lighter and struggles to retrieve it - At the tennis match, everybody's eyes are following the ball, except for Bruno, who is staring straight at Guy! Memorable Quote: "Don't worry, I'm not going to shoot you, Mr. Haines. It might disturb Mother." - Robert Walker as Bruno Anthony Hitchcock Cameo: 10 minutes into the film, he is seen carrying a double bass on to the train. Other Thoughts: Roger Ebert wrote… Hitchcock was a classical technician in controlling his visuals, and his use of screen space underlined the tension in ways the audience is not always aware of. He always used the convention that the left side of the screen is for evil and/or weaker characters, while the right is for characters who are either good, or temporarily dominant. Consider the scene where Guy is letting himself into his Georgetown house when Bruno whispers from across the street to summon him. Bruno is standing behind an iron gate, the bars casting symbolic shadows on his face, and Guy stands to his right, outside the gate. Then a police car pulls up in front of Guy's house, and he quickly moves behind the gate with Bruno; they're now both behind bars as he says, "You've got me acting like I'm a criminal."
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Post by Mighty Jack on Jun 15, 2010 6:42:36 GMT -5
Watched Rebecca again the other night and listened to the commentary by Richard Schickle, who was a bit disappointing. He does a lot of autobiographical stuff, but is very weak on the cinematic angels. He says nothing of the directorial touches during the first beach scene. I’ve always wondered why Hitch mixed location shots with process shots. For example, we see the couple walking down the stairs to the beach, why then does Hitch add a process shot of those stairs when they are actually on the beach. Later, there’s location shots of Fontaine with the dog, then process shots of her walking with Maxim. Very strange, was this an artistic decision or just a bad mix of location and studio shots?
Anyway - I’ve always found Olivier a bit too cold and distant as a leading man, Joan Fontaine is a limited actress, but she does very well with the mousy stuff, she really does seem so uncomfortable (and I love how she is never given a name, Rebecca over shadows her). Judith Anderson as Mrs. Danvers is a real delight; IMHO she was robbed at the Oscars (winner Linda Darnell was too weepy and melodramatic in Grapes of Wrath)
I wonder if Alanis Moresette got the idea for her song from this movie (Maxim describes Rebecca has having one hand in her pocket and the other was holding a cigarette)
And was Ben the model for Mickey in the Screaming Skull?
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Post by Mighty Jack on Jun 16, 2010 0:30:33 GMT -5
#4 Notorious (1946) A woman is asked to spy on a group of Nazi friends in South America. How far will she have to go to ingratiate herself with them? (IMDB) Cast: Ingrid Bergman as Alicia Huberman Cary Grant as T.R. Devlin Claude Rains as Alexander Sebastian Leopoldine Konstantin as Madame Anna Sebastian Louis Calhern as Captain Paul Prescott Moroni Olsen as Walter Beardsley, Ricardo Costa as Dr. Julio Barbosa Notorious is the story of a woman whose father has been convicted of treason - She later works as a spy for those he betrayed. But what it really is, is a love story. Hitch is no hopeless romantic. In matters of love and marriage he is a realist. Love hurts. Alicia and Devlin are in love, but they use words to wound each other. Instead of being honest at the outset, each waits for the other to say the right thing. Neither does. With two great actors at the lead, Ingrid Bergman and Cary Grant and a brilliant cast that includes Claude Rains. Notorious is flawlessly acted. But in every phase this movie succeeds. The screenplay was by Ben Hecht, it was scored by Roy Webb, and the cinematographer was Ted Tetzlaff. Each was at the top of their game. And the man at the head brought it all together to create an absolute classic. This isn’t slam-bam tale; modern audience might even get bored with it, their loss. As every frame of the film is a work of art. There's not one misstep and there are so many memorable scenes. Including the famous wide shot which funnels down slowly to one spot, a key in Bergman's hand. Memorable scenes: The suspenseful bits as Grant & Bergman break into the wine cellar, knowing the party above is getting low on libations. Memorable Quote: "We are protected by the enormity of your stupidity, for a time" - Madame SebastianHitchcock Cameo: At about an hour (depending on the cut) He is seen drinking a glass of champagne as Grant and Bergman approach to get a glass. He sets his glass down and quickly departs. Others Thoughts: Film maker Francois Truffaut – "In my opinion, Notorious is the very quintessence of Hitchcock… it's still a remarkably modern picture, with very few scenes and an exceptionally pure story line. In the sense that it gets a maximum effect from a minimum of elements, it's really a model of scenario construction. ... All of the suspense scenes hinge around two objects, always the same, namely the key and the fake wine bottle. The sentimental angle is the simplest in the world: two men in love with the same woman…. of all its qualities, the outstanding achievement is perhaps that in Notorious you have at once a maximum of stylization and a maximum of simplicity."
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Post by Justin T on Jun 16, 2010 18:18:27 GMT -5
I'm loving your Top 5 so far, both Strangers on a Train and Notorious are wonderful. I'm very proud to have them in my DVD collection.
I have a feeling what your Top 1,2,3 are, but I'm looking foward to seeing how you rank them.
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Post by Mighty Jack on Jun 17, 2010 0:10:26 GMT -5
#3 Rear Window (1954) A wheelchair bound photographer spies on his neighbors from his apartment window and becomes convinced one of them has committed murder. (IMDB) Cast:James Stewart as L. B. "Jeff" Jeffries Grace Kelly as Lisa Carol Fremont Wendell Corey as Det. Lt. Thomas J. Doyle Thelma Ritter as Stella Raymond Burr as Lars Thorwald Judith Evelyn as Miss Lonelyhearts Ross Bagdasarian as the Songwriter Georgine Darcy as Miss Torso, a young dancer who practices in her underwear Sara Berner and Frank Cady as the husband and wife living above the Thorwalds and who also own the dog that is killed Jesslyn Fax as Sculptor neighbor with a hearing aid Rand Harper as the Newlywed man Irene Winston as Mrs. Anna Thorwald Havis Davenport as the Newlywed woman Well what more can I add that hasn't already be said about this masterpiece. It's perfect. Though it seems like another one that simply could not work. Your story is about a guy who is stuck in a wheelchair who watches his neighbors all day. How thrilling does that sound? And yet thrilling it is. Somehow it works as a compelling character study and suspenseful mystery I love all the actors, it’s a wonderful cast through and through. The Oscar nominated script, the inventive idea of it all and direction. It's 100% brilliant. I also enjoy the twist of how Raymond Burr as the baddie, comes off kind of sympathetic. It's like, "poor bastard being harassed by this nosy neighbor" - then you realize that this poor bastard has chopped up his wife in little pieces! Memorable scenes: James Stewart looks through his camera lens and catches Raymond Burr staring right at him. Stewart realizes that the killer now knows who and where he is. Memorable Quote: "We've become a race of Peeping Toms. What people ought to do is get outside their own house and look in for a change." - Stella Hitchcock Cameo: He is seen in the songwriters apartment, winding a clock Other Thoughts: Critic Roger Ebert: "The film develops such a clean, uncluttered line from beginning to end that we're drawn through it (and into it) effortlessly. The experience is not so much like watching a movie, as like ... well, like spying on your neighbors. Hitchcock traps us right from the first....And because Hitchcock makes us accomplices in Stewart's voyeurism, we're along for the ride. When an enraged man comes bursting through the door to kill Stewart, we can't detach ourselves, because we looked too, and so we share the guilt and in a way we deserve what's coming to him." Of Note: Was nominated for 4 Oscars, including Best Director, but it didn’t win a thing (The brilliant “On The Waterfront” gobbled up most of the awards that year)
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Post by Justin T on Jun 17, 2010 11:01:56 GMT -5
I love Rear Window for all the reasons you stated. It's one of my favorite movies of all time, and it's the first Hitchcock movie I ever watched. After seeing this the first time I became a fan of his right away.
I love the acting in this, and Grace Kelly is just so beautiful. I can remember being on the edge of my seat when It looks like she's about to get caught by Burr when she goes into his apartment. I was freaking out.
I would put this one as my #1 Favorite Hitchcock, but arguments can be made for North By Northwest and Vertigo which are just as awesome.
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Post by Mighty Jack on Jun 17, 2010 23:11:26 GMT -5
#2 North By Northwest (1959) A hapless New York advertising executive is mistaken for a government agent by a group of foreign spies, and is pursued across the country while he looks for a way to survive. (IMDB) Cast: Cary Grant as Roger Thornhill Eva Marie Saint as Eve Kendall James Mason as Phillip Vandamm Leo G. Carroll as The Professor Jessie Royce Landis as Thornhill's Mother Clara Martin Landau as Leonard Philip Ober as Lester Townsend Josephine Hutchinson as Mrs. Townsend Adam Williams as Valerian Patrick McVey as Sergeant Flamm Ed Platt as Victor Larrabee Epic adventure with humor and suspense blended brilliantly together. I've watched this one more than any other Hitchcock film, so I'm at a point where I can simply sit back and marvel at every shot: The framing, screenplay and acting. And I feel it is one of Hitch's most accomplished directorial efforts. But because it's a film of adventure, this aspect doesn't get the same attention as those movies that explore deeper themes of morality (Rear Window) or psychology (Vertigo). Nevertheless, North by Northwest in pure film making terms, is an equal to both of those masterpieces. The brilliance of the crop dusting scene for example - isn't that it's the BAM! BAM! BAM! Action packed, quick edits we'd see in a modern movie. No, Hitch takes his time. He builds the suspense and tension just by having Thornhill wait, and wait.... and wait. For a man who he hopes will have all the answers he seeks. NbNW is the culmination of the director’s movie making experiences. He learns from every past mistake and draws from every success. The scene with the Porters red hats mirrors the umbrellas in Foreign Correspondent. The mysterious Eve Kendall is kin to Bergman's character in Notorious. From the cross country pacing and humor of the 39 Steps, to the big finish atop a National Monument in Saboteur - Hitch takes these themes, uses the technology of the time, and forms them into the perfect version of the vision he'd carried in his minds eye from 'probably', the first moment he decided he wanted to be a director. In addition to this, NbNW carries one of my favorite Bernard Hermann scores. The music echoes the mood of the film incredibly. It's chaotic, haunting and thrilling. Hitch's use of rear projection and sets gives the movie a kind of off kilter, almost surreal feel. Thornhill's life has been torn from its safe reality and the entire look of the movie, mixed with the soundtrack, expresses this unraveling of reality. Oh, and before I go – the acting? Superb. Another great cast collected here. Memorable scenes: Saul Basses simple but effective title sequence - The crop duster scene and of course, that brilliant chase on the face of Mount Rushmore. Memorable Quote: "Ah, Maggie, in the world of advertising, there's no such thing as a lie. There's only the expedient exaggeration. You ought to know that." - Cary Grant as Roger Thornhill Hitchcock Cameo: He’s the guy who misses the bus at the end of the opening credits Others Thoughts: Director Curtis Hanson called North by Northwest, "The ultimate Hitchcock movie." And stated that it was "...almost a compendium of Hitchcock themes and motifs." Guillermo del Toro called the crop duster scene a "Symphony of pure cinema." – he spoke of the opening set up with the bus, and how each shot that followed was "...planned with absolute, unparalleled, virtuoso technique"
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Post by Mighty Jack on Jun 19, 2010 0:26:37 GMT -5
#1 Vertigo (1958) A San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her. (IMDB) Cast:James Stewart as John 'Scottie' Ferguson Kim Novak as Judy Barton/Madeline. Barbara Bel Geddes as Midge Wood Tom Helmore as Gavin Elster Ellen Corby, Hotel manager Hitch's most challenging film is a powerfully haunting story of obsession. It's also his most perfect use of the German Expressionism techniques (Sound, color, matte work, rear projection) that defined his style. Tonally it keeps one off balance - there is an ever-pervading feeling of unease and dread. It's a character study about mental illness (Both real and created) of a desire twisted by obsession. Of the danger in objectifying and personifying a woman instead of loving and accepting her for who she is, faults and all. Hitch reveals the mystery a half hour before the film ends because he doesn't want our attention directed towards that. He wants our focus on Scottie and his psychological downward spiral. The mystery? That was just the frame, not the core of the story – the core is the psychology, the never ceasing obsession that engulfs Stewart's character. For years North By Northwest occupied the top spot in my Hitch-list, Vertigo was interesting but it didn’t wow me on my first viewing. That seems to happen to many folks, even a few critics at the time weren’t so hot for Vertigo. I think it’s the reveal of the mystery that feels off. It wasn’t until I saw it again years later that I got it. The ‘who dun it’ was the McGuffin, the biggest, grandest McGuffin of all. Once I understood that, I was able to truly experince this film in all its genius. Memorable scenes: Scotties vivid nightmare - the bits at the psychiatric hospital with Midge - Judy becomes Madeleine, bathed in a glow of sickly green light – The contra-zoom when Scotties vertigo kicks in as he climbs the stairs. Memorable Quote: Stewart & Novak are in the forest, looking at the rings of a tree, Novak's Madeleine points to a spot on the tree... "Here I was born, and there I died. It was only a moment for you; you took no notice." Hitchcock Cameo: 11 minutes in wearing a gray suit walking past Gavin Elster's shipyard Other Thoughts: Martin Scorsese on Bernard Herrmann's eerie score: "Hitchcock's film is about obsession, which means that it's about circling back to the same moment, again and again ... And the music is also built around spirals and circles, fulfillment and despair. Herrmann really understood what Hitchcock was going for — he wanted to penetrate to the heart of obsession."Of Note: This was the last pairing of Hitch and Stewart, though they nearly worked on a compelling idea called The Blind Man (when this fell through, Hitch turned his attention to The Birds) I’d recommend watching Henri-Georges Clouzot’s Les Diaboliques. Which was written by the same author and was the film Hitch wanted to do, but couldn’t get the rights. For more trivia, check out IMDB
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Post by The Mad Plumber on Jun 19, 2010 7:48:11 GMT -5
A very nicely composed list, MJ. You helped highlight several Hitchcock pictures that I've never heard of, though I'm afraid I'll also probably not see very soon. Eventually, I get around to seeing his other essentials like North by Northwest and The Birds.
I wonder if you feel there are any stinkers of his career.
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Post by Justin T on Jun 21, 2010 19:04:58 GMT -5
I agree, a great list of Hitchcock MJ. I would put Rear Window #1 and Vertigo #3 but that's my preference. That Top 3 is what it should be, those are masterpieces. There are several of his movies on your Top 25 I haven't watched yet, so I apprecaited hearing why you felt they were good and worth watching.
I'm also curious what you would consider his weakest/worst film or films?
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Post by Mighty Jack on Jun 21, 2010 22:54:34 GMT -5
Well I'm gonna offer up a complete Filmography over the next few days -I also watched Secret Agent again, it was a little more wonky than even I recalled, so I'm gonna push that back to 25. The Hitchcock Filmography With quick reviews for ones that didn’t make the top 25 The Silent EraThese and his British talkies are difficult to locate and because they are public domain, most companies aren’t doing any restoration. They can be found in cheap DVD box set collections. 1925 The Pleasure GardenMelodrama about a couple of chorus girl. I’ve never seen this, can't locate a DVD in the States. Hitches first feature, shot in Munich 1927 The Mountain EagleIn the Kentucky hills a storekeeper tries to win the love of an innocent schoolteacher. She runs away and seeks refuge with a hermit. This is Hitch’s lost film. 1927 The Lodger1927 Downhill Public schoolboy Roddy Berwick is expelled from school when he takes the blame for a friend's theft and his life falls apart in a series of misadventures. I’ve never seen the film and I’ve not been able to find a copy released for NCTS 1927 East VirtueNext to "The Lodger", this is the earliest Hitchcock film commercially available. Virtue is a based on a Noel Coward play about a fallen woman who ends up divorced, twice! While I never really got involved with the main characters, there were a few indications of the Hitchcock style that came through. There's a nice shot at the beginning where we get a view from a Judges monocle. Hitch also offers clever dissolves - the monocle becomes a swinging pendulum in a clock, a poodle becomes a bulldog to show a transition of time. This also the first example of "The Mother" - a central figure in his Filmography: some of Hitch's mothers are crazed (Strangers on A Train), a few are kind (Shadow of a Doubt) but the one in Easy Virtue is a bitch on wheels! Echoing the nasty mommy in "Notorious". Virtue isn't a great film, but it is interesting and for those interested in seeing all of his movies, it offers a look at Hitch's early development. 1927 The RingThis was written by the director as well. While I didn't find the story as compelling as the Lodger, the direction shows growth. The stories a love triangle, the ring signifies both the boxing ring the two men battle in - and also the wedding ring and arm bracelet each present to the woman of their dreams. The camera work is clever. A drunks fading vision is used to move us from one scene to the other, and the final boxing match develops some of the same style Scorsese will incorporate in Raging Bull (Blows from one fighters perspective - a slow moving glove that strikes the jaw of a boxer) Though he started out making Title cards, Hitch uses them sparingly and allows his picture to convey the story. 1928 ChampaignA minor directorial effort; it's a light romantic comedy about a spoiled rich girl (who looks like Tina Yothers from "Family Ties" fame) who loses everything... or does she? Champaign's an interesting trifle with a couple of neat camera angles - such as the opening shot which includes a close-up of a glass of Champaign being drunk (This image will also close the film as well) - and some funny visuals (The imprints seen on the back of a guy who just hugged a gal with flour on her hands 1928 The Farmers WifeHitchs longest silent film runs over 2 hours (though many collection offer an edited version). It's a comedy about a widowed farmer who is seeking a new wife. There are a couple of real funny scenes. Especially when he and his maid are making the list of potential spousal candidates. The movie is well done, if a bit too drawn out - while one can see Hitch experimenting and tuning up for a bright future, It was a pleasant enough movie, I'd call it cute - nothing more. 1929 The ManxmanHitchcock's final silent film is a soapy romance, about 2 friends who are in love with the same woman. The Manxman starts off wonderfully - The set up at the bar when the two men vie for the girls attention, their eyes set firmly onto her, as her eyes dart between the two. Their faces convey adoration while hers is playful and attentive -she obviously cares for both. There are some smart dissolves and the movie moves nicely - The courtship of Phillip and Kate is told creatively and without melodrama. The bits with her diary, the consummation of their relationship at the water mill, a scene where Kate dashes over the cliffs of the Isle of Mann to meet with her lover... all of this is so well crafted, so beautifully told that it's a shame when the movie crashes and burns in its final half. The problem is with Carl Brissom, as Pete, the sailor who received a promise from Kate that they marry upon his return - he was thought lost at sea, but survived and comes back to take Kate as his bride. Brissom is so hammy and Hitch choosing to focus so much on him was a big mistake. The guy continuously wears this idiot grin and never notices that his wife and best friend always look miserable? It was too soapy, too broad and unrealistic. A scene when Pete (Brissom) learns that Kate is pregnant -both she and Phil look forlorn, but oblivious dope Pete smiles and swoons and waves his arms about in exaggerated fashion - I couldn't help but riff (as Pete)... "My sperm is GREAT!" - that the dumb ass still doesn't have a clue, can't see by the other two expressions that he's NOT THE FATHER, was unfortunately comic. The movie continues its descent into these gooey overwrought theatrics - up lifted momentarily by a well conceived suicide attempt: Kate plunges into the deep to drown herself, she disappears beneath the water which becomes the ink that Phil dabs a pen in... Nice direction. But it's not enough to salvage the wreak this movie became. It's unfortunate, really, because the first half held so much promise. Manxman is one half lyrical, heartfelt romance - and one half excruciating goofy soap opera. Anny Ondra (future wife of heavyweight champ, Max Schmeling) as Kate is delightful and the best part of the movie was her performance in the first half.
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Post by Justin T on Jun 22, 2010 19:17:45 GMT -5
A Complete Filmography? I love it!
Besides The Lodger, I didnt know much about his silent film work. That was very informative, thanks MJ
I've seen alot of his early British films on cheap DVD sets and collections since they are all public domain. My mom has one that has The Lodger, 39 Steps, Lady Vanishes, and a few others.
I prefer having the Criterion DVD versions of The 39 Steps and The Lady Vanishes because they took the time and effort to restore the movies to make them look as good as possible. The copy of Young and Innocent I bought is from MGM/Fox, part of their Hitchcock Premiere Collection and has some special features to boot.
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Post by Mighty Jack on Jun 23, 2010 0:12:18 GMT -5
I was hoping Criterion would do a blu-ray on 39 Steps, but I should just buy the DVD before it's gone. I guess theirs a PAL edition of the blu (not criterion) that looks pretty bad according to one blu-ray site. The British Talkies 1929 BlackmailA woman steps out on her boring fiancé (who works for Scotland Yard) and winds up killing a man after he attempts to rape her. She’d have gotten away with it, with her boyfriends help, except for one witness. Blackmail was filmed as a silent (reportedly it’s the better of the two) but Hitch later added a sound track and re-filmed scenes. While it can sometimes get static, it is an important part of British film history, as well as a turning point in Hitch’s career. Anny Ondra was very good, she has a haunted look about her that stuck with me long after the movie was over - but she also had a thick Czech accent, so Alfred had Joan Barry stand off stage and speak the lines as Ondre mouthed the dialog silently. Memorable Scenes include the use of a portrait, which seems to mock the main characters. The big chase at the British Museum, that ends with a fall from a large structure. Alice in shock, knife in hand. Also Hitch experiments with his new toy, when Alice is listening to a nosy customer at the shop she works at, she only hears her utter unintelligible mumbles, except for the word "knife!" 1930 Juno and the PaycockSo you wanna know which films I think are Hitch’s worst? Well step right up…AH’s first as a fully intended sound picture and it's pretty dull. It's not a suspense thriller (Though the son with one arm harbors a secret) but a drama about some poor Irish folk. Juno was a play Hitch liked and he films it very much like one, without any flourish. Perhaps he did this to remain faithful to the source, or perhaps because the first sound cameras were bulky and hard to maneuver - whatever the reason, the movie is very static with few of those trademark Hitchcock techniques. Unless your intent on seeing every Alfred Hitchcock movie available, this is a flick one could avoid. 1930 MurderA juror in a murder trial, after voting to convict, has second thoughts and begins to investigate on his own before the execution (IMDB). Hitch’s 3rd sound film features some outstanding and imaginative camera work; the opening and closing bits are sharp. There's a nice montage in a prison scene, and often Hitch plays with German expressionism techniques effectively (most notably: In the Jury room, and at the prison when Marshall speaks with the woman he's trying to save). There are also technical hurdles, which were addressed smartly: A scene where Herbert Marshall is thinking to himself as he shaves and listens to the radio. At the time film makers couldn't do multiple sound tracks or overdubs. So Hitch had Marshall record his dialog on record, which he played while his actor shaved on screen. Behind the set, Hitch had an orchestra play the music for the radio. Hence, he was able to get multiple sounds in a scene. It's an inventive experiment that worked well. Sadly, Murder sags with talky long takes in its middle. These stagy, set piece moments prevent the movie from bounding into classic status. (Even then, there are decent moments here as well. The scene where Marshall recruits two theater people to help him out needed to be tightened up considerably - but the line about this being "Not a play, but life"; was a great piece of dialog which mirrored the films theme of reality and illusion nicely) Overall, it's a decent enough whodunit and will be of interest for anyone wishing to track the directors development. 1931 The Skin GameThis is another stage adaptation, but unlike the dull "Juno and the Paycock", he opens things up a bit. A nice scene at the beginning sums up the story in a nutshell - as the daughter of a squire who is trying to save the land, rides off on a horse through a thick forest - this dissolves to a scene of the son of a land developer riding his car towards an opulent estate. These two families will square off in a nasty battle for the land. Edmund Gwenn plays the land developer, Hornblower and he's the main problem with the story. He does a great job of acting but he's such a loud mouth blowhard. Issuing threats and treating people like things - he always gets the last word and I desperately wanted to see him brought down. But he never does - The opposing side is humbled, embarrassed by their part in an ugly affair - but Hornblower shows no repentance, and gets the last word in again; swearing vengeance. It was unsatisfying for me, as I wanted the SOB to realize that he reaped what he sowed. That the disaster that fell on his family was just as much his fault. Skin Game doesn't receive much attention at all from review sites. Donald Spotto devotes a mere paragraph to it in his book “The Art of Hitchcock”, and Hitch didn't say anything positive about the film. But it's really not that bad - not great by any means, but better than I imagined from the lack of enthusiasm it receives. Laurence Olivier's first wife had a part in it - That I can't remember her name speaks volumes of how fickle fame is. Because she was a popular star in her day, while Hubby, Olivier, couldn't catch a break and was seeing his career wane. All these years later, and its Sir Larry we all remember. 1932 Number SeventeenIt’s starts off in a spooky house, with an ever-growing cast where few are what they seem. This is a light confection, fun at times but very disjointed and kind of sloppily directed. Hitch relies on shadows and mugging close-ups. It ends on a high-speed train/bus chase where the characters are after some expensive jewels. It’s minor Hitch that doesn’t hold up well to repeat viewings (once you untangle the mystery, the flaws stick out like sore thumbs) 1932 Rich and StrangeOften very funny comedy using a technique that I guess would be described as expressionism, only this time he uses these methods not to create a dark moody atmosphere, but to illustrate a comedy about a middle class couple who come into money and go on a world tour. Money can’t buy you happiness and the relationship begins to unravel as each indulges in affairs. Later theirs an attack on the ship, which leaves shipmates dead (we also see a man drown to death) - and that’s the strange part of the title. While the movie is a great example of the directors burgeoning skill and style – it’s an odd mix of humor and tragedy, which doesn’t always blend seamlessly. Rich and Strange is a fascinating exercise though, and highly recommended to students of the master’s type of cinematic flourishes. There's lots of interesting camera work, like the opening rush hour scene - where workers march down some stairs and open umbrellas two by two. 1934 The Man Who Knew Too MuchHitch hits his stride with this effort and I should have included this (edit: I've altered the list a bit to include the film). I don’t think it packs the emotional wallop of the remake, Stewart really sells the desperation in that version - plus the scene here, where fearsome baddies engage in a chair fight with the protagonist was just plain goofy – but this is overall well made, fast and funny and Peter Lorre is a great villain. Nova Pilbeam plays the kidnapped little girl. She will later show up as a young adult for “Young and Innocent”. 1934 Waltzes From ViennaThe story of Johann Strauss the elder and younger. Hitch hated it, called it his worse film. I’ve never seen it, the best DVD copy available was released only in France 1935 The 39 Steps1936 Sabotage1938 Secret Agent1937 Young and Innocent1938 The Lady Vanishes1939 Jamaica InnHitchs first adaptation of a Daphne du Maurier story (the others were Rebecca and her short story "The Birds"). Many complain that Laughton overpowers everything (he’s way over the top - and that makeup, yeesh, I couldn’t keep my eyes off those dead caterpillars on the side of his head… wait, those were supposed to be eyebrows?) And perhaps he did overpower Hitchcock, who doesn't have fond memories of the movie and dismisses it as something he did to bide his time while he prepared to head to the US and make Rebecca. It's a costume drama, a story of Pirates and madness. Of the 3, only the sanity angle was one Hitch understood and filmed well in his career. Despite his complaints - there are still a few Hitchcockian touches and the movie flows well enough. Donald Spoto compares the scenery at the Inn to the classic Dr. Caligary in terms of expressionistic angles and the surreal atmosphere. And while it's not as dramatic as that classic, Hitch does evoke a feeling that stepping into the Inn, is like stepping into a nightmare. One area where Laughton DOES NOT overpower is with actress Maureen O'Hara - though she is very young here, she still has the charm and fire that will serve her well over the years. She was able to stand toe to toe with big personalities like the Duke - and working with Laughton doesn't diminish her star one bit. This lady is a total delight, I loved every scene she was in and it's too bad Hitch got so obsessed with blonds in America, because she would have been perfect in several of his movies. I’ve seen Jamaica Inn listed among Hitch’s worse, but I’ve always enjoyed it whenever I pop it on. I liked the cast (which included a young Robert Newton) the story never bored me, the sets were great and there were a couple of memorable moments (As when a very young member of the wreakers (The name of the Pirate gang), who has been trying to hard to be one of the guys, realizes that he's achieved his goal and now will be hung, just like the rest) Note: In 1931 he also directed “Mary”, a German language version of “Murder” Of the Silent Films – He did some work as a co or assistant director on “Always Tell Your Wife” (1923) (Only one reel survives of this movie) and his actually first attempt at direc ting a movie was “Number 13”, but financing ran out – From IMDB… Alfred Hitchcock directed this film sometime in late 1922 or early 1923. The story was about low-income residents of a building. It was written by a woman employed at Islington, her precise identity unknown. Hitchcock's uncle invested in the film, and when the funds ran out, star Clare Greet also pitched in funding. But the filming was ultimately shut down with only two reels of film completed. The picture was never actually shown, but Adrian Brunel claims Hitchcock showed it to him in an unfinished state
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