The previous time James Stewart and Alfred Hitchcock worked together was on Rope; an experimental piece for Hitch that was considered a failure by most critics of the time. Stewart himself was not happy with the picture, or with the role, which he felt was not right for him. Additionally, there was the fact Rope was not a financial box office success. Some cities even requested cuts before it was to be shown. In Chicago it was banned outright. This was most likely because the storyline was a bit too close to the real life Loeb-Leopold case of the 1920’s. Subsequently, when Hitchcock called about Rear Window, Stewart was hesitant to accept, especially after hearing that, like Rope, the film would take place mostly on one set. Furthermore, he would be confined to a wheelchair for the entire film.
More than seventy years after its release “Sabotage” remains relevant, in fact, it is even more relevant today, considering the world we live in, than in 1936 when it was first released. Based on Joseph Conrad’s short novel, “The Secret Agent,” the plot focuses on Karl Verloc (Oscar Homolka), a foreigner from an unnamed country. Verloc owns a local cinema in London and is a member of a terrorist group set on crippling London. His wife (Sylvia Sidney) is completely unaware of her husband’s underground activities. Living with Mr. and Mrs. Volker is Mrs. Volker’s younger brother, Stevie (Desmond Tester) whose death in the film sparks its most famous sequence and is the centerpiece of the film.
Hitchcock sets up the opening moments with a nice sequence of shots. A dictionary page explaining the definition of the word sabotage as the opening credits appear followed by a series of shots as the city of London loses its electric power. Two investigators identify the cause, the result of sabotage, and then a quick cut to a close up of Karl Verloc (Oscar Homolka) our saboteur. Continue reading →
I don’t really like to complain about multiplexes showing classic movies on the big screen. It’s rare enough that we movie lovers have the opportunity to watch great classics in a theater environment. However, and isn’t there always a however, after the last experience recently at a local Regal Cinema (Citrus Park Mall in Tampa), the real life horror was the theater experience itself, more so than Hitchcock’s excellent film.
I arrived at the theater about twenty minutes before show time. As I headed to theater five as it stated on the ticket, other patrons are all filing out mumbling about a change in the theater. “The Birds” they were told will now be showing in theater nine. So like a wandering herd of sheep we all went strolling over to theater nine only to discover “Finding Nemo 2″ was already in progress. The manager, now on the scene, was as perplexed as the rest of us. He gets on his handy dandy intercom and promises to straighten this out. A few minutes go by and we are told to head over to yet another theater on the opposite side of the lobby. The sign reads 2016 (shorten for the documentary “2016 Obama’s America”). For many of us it felt like it may be 2016 before we find the correct screening room. Happily, this was the right theater, as the pre-show entertainment i.e. advertisements on the screen were TCM related. Continue reading →
This interview originally appeared as a contribution to The Lady Eve’s Reel Life marathon, A MONTH OF VERTIGO which for any Hitchcock admirer is a must to check out. Just click right here! The month-long event had a spectacular list of contributors from such writers as Steven DeRosa author of WRITING WITH HITCHCOCKand Dan Auiler author of VERTIGO: THE MAKING OF A HITCHCOCK CLASSIC. In addition there are a whole list of contributions from some very fine bloggers covering just about every aspect of the film.
L.B. Jeffries (James Stewart), a photojournalist for a big time magazine is confined to his Greenwich Village apartment in a leg cast due to an accident during a photo shoot when he got a little too close to the action on a race track. His long period of convalescence is stifling. Use to being on the move, traveling to exotic places around the world, Jeffries is bored and frustrated by his inability to get around. A brutal heat wave with temperatures hovering around 100 degrees only adds to his aggravation. Bored out of his mind, Jeffries spends his days and nights, voyeuristically spying on his neighbors whose apartments are visible from his window facing the courtyard of his housing complex. The tenants are a diverse group of New Yorkers whose lives he becomes fleetingly acquainted with. They include a newlywed couple, a struggling songwriter, a lonely woman, he dubbed Miss Lonely Heart, a young beautiful dancer he nicknamed Miss Torso, and some married couples, one with a dog, another who sleep out on the fire escape, and especially one unhappy couple, Lars Thorwald (Raymond Burr) and his ailing wife.
Jeffries girlfriend, Lisa Freemont (Grace Kelly), a high fashion model, is pushing him to settle down and get married, a concept Jeffries reacts to as if it were allergenic. Jeffries begins to focus on the Thorwald’s when he notices Mrs. Thorwald, who was always in her bedroom, has seemed to have disappeared and Mr. Thorwald, a salesman by trade, began to be going out at odd hours of the night with his sample case in hand.
This review is part of the Carole Lombard Blogathon being hosted by Carole and Co.
The name Alfred Hitchcock on the movie screen evokes the notion of suspense or a thriller, even horror; some sort of on the edge of your seat nail biter for sure. Certainly, the name Alfred Hitchcock does not bring to mind the words ‘screwball comedy.’ Therefore, in 1941 when RKO released “Mr. and Mrs. Smith” and the credits rolled on to the screen with the words “Directed by Alfred Hitchcock,” many theatergoers may have been surprised by what they were about to see or even confused, then again, they may have been thrilled once they realized they were about to watch a delightful, charming, if not totally successful, battle of the sexes played by two of the finest and most attractive performers for this kind of film.
The plot is kind of farfetched to say the least, David and Ann Smith find out after three years of blissful marital battle they are not married due to a legal snafu. The Smith’s are a sophisticated couple who like to play conjugal mind games, one of which is locking themselves up in their bedroom for days. What goes on in the bedroom for three days? Well, their entire household staff is just as interested to know as we are, one gets the feeling the activities are sexual as well as combative, but it comes to a halt when a messenger from David’s Park Avenue law firm arrives at the apartment with some papers to be signed demanding to be taken to their room. Before David leaves, the couple embrace and reaffirm their promise to never leave the bedroom mad. Still there is tension in the air, especially when Ann asks the all important question, “If you had to do it over again, would you marry me?” David’s response is an honest but problem making, “no.”
Life only gets more complicated when the couple discover their marriage was never official due to some geographical mix up with the license at the time. Ann waits for David to propose, a proposal David is reluctant to put forward. Feisty Ann tosses David out of the house, quickly changing her name from Smith to Krausheimer and Ann begins dating David’s law partner, Jefferson Custer (Gene Raymond). Continue reading →
As kind of my own personal wrap up for the CMBA Hitchcock Blogathon I am listing my own baker’s dozen of Hitchcock favorites. Like any list, at least of mine, it is never set in stone as additional viewings and new insights tend to change the order with only a couple of exceptions. A couple may suprise some, at least in the order they are in. The top three seem to always remain in those same positions.
This reposting is in conjuction with the Classic Movie Blog Association’s Alfred Hitchcock Blogathon. For more Hitchcock reviews by other CMBA members see list after the review or click on the Hitchcock Blogathon ad on the right.
Who ever said Alfred Hitchcock was not a romantic? After all, what could be more romantic than the final scenes in “Notorious” where we see Cary Grant coming to Ingrid Bergman’s rescue just in time to take her away from the murdering Nazi Claude Rains. True for the past two hours Grant forced Ingrid to whore herself by playing a 20th Century Mata Hari, seducing and sleeping with Rains in order to obtain secret information. He then resents her for agreeing to do this and hates himself for forcing her do it. Yep, no one knew how to treat a woman like Mr. Hitchcock, just ask Janet Leigh in “Psycho” or Grace Kelly in “Dial M for Murder.”
“Notorious” is a dark perverted love story. It is also a story of espionage, spies, murder and sex with Grant and Bergman as two of the most glamorous spies this side of James Bond, and wouldn’t have Grant made a great James Bond. In this seductive tale, Bergman is Alicia Huberman, daughter of a convicted Nazi spy, though Alicia herself is a patriotic American, a party girl who loves to drink and has a reputation for promiscuity, which just happens to make her a perfect choice for a dirty job planned by American intelligence agents. Agent Devlin (Grant) is selected to recruit her, by seduction if necessary, for the delicate mission. He does his job well, a little too well as she falls in love with him. One romantic evening, Devlin breaks the news on what she has been recruited to do. They want her to go to Rio de Janeiro where a known Nazi spy ring has congregated. There she is to ingratiate herself into the home and life of the spy rings leader, one Alexander Sebastian (Claude Rains), a man she has previously met. In a subtle (remember this is 1946) but still clear way, Devlin tells her to do what it takes, even to sleep with Sebastian if need be, to find out what he and his cohorts are up too. Reluctantly she agrees. In love with Devlin, she practically pleads with him to tell her not to go through with this mission but Devlin never says the magic words, he has his orders. Poor Devlin, our dark hero is conflicted; he has feelings for Alicia yet resents her for accepting the job and hates himself for not stopping her. Continue reading →
The one day, all day Alfred Hitchcock blogathon is coming! On January 17th, The Classic Movie Blog Association presents the first Alfred Hitchcock blogathon. More than 15 classic movie blogs with be participating on Hitchcock and nothing but Hitchcock this coming Monday. A list of all the participarting CMBA bloggers will be provided on Monday.
“Dial M for Murder” was a successful play in both London and on Broadway (where it ran for 552 performances). Written by English playwright Frederick Knott (Write Me a Murder, Wait Until Dark) the hit play originally was turned down for production by London theater managers claiming there would be little interest in this sort of play. Finally the BBC showed interest and the play premiered on the British TV station in early 1952. The play made its West End debut when a businessman who owned a lease on the Westminster theater, and no play ready to put into production, decided to take a chance and put on a low cost thriller with some of the same cast members from the television version. The show was a critical and commercial success. In October 1952, the play opened in New York with Maurice Evans as Tony Wendice, (Ray Milland in the film). Evans had shrewdly acquired the North American rights to the play. Also in the Broadway cast were Anthony Dawson and John Williams, both who would recreate their roles later on screen. Williams won a Tony Award for his role as the Police Inspector.
Enter Alfred Hitchcock who loves a well plotted mystery. Hitch was at the end of his Warner Brothers contract and needed a film to complete his obligations. Women in peril has always been a favorite subject for writers (Knott) and film directors (Hitchcock) so the blending of these two talents was a natural fit. Knott wrote the screenplay which remained faithful to the play. Unlike most filmmakers, when they film a play, Hitchcock did not “open up” the story. He kept it confined to the apartment, where the entire play takes place, except for a couple of short scenes outside the apartment and one scene at a men’s club. Continue reading →