Two observations on Hitchcock’s Saboteur: it seems a main root of much 80s Action/Spectacle cinema: stereotypical characters in one high concept set-piece after another, the main purpose of each to convey humour, suspense, excitement and/or surprise. One is left without much at the end but has had great fun getting there. I loved the theatricality of the opening doors at the factory, like a curtain at the start of a play. My other observation is that Robert Cummings’ eyelashes are filmed so as to rival Tyrone Power’s.
Considered by some to be his best film, Alfred Hitchcock’s Notorious comes to the mac in a beautiful 4k restoration. We explore its sumptuous close-ups, complex characterisation and smart, effective editing, which elicited big responses from the audience. We also have an argument about focus pulling.
Below, you can see several screenshots and four clips of moments and scenes to which we refer in the podcast.
The podcast can be listened to in the players above or on iTunes.
We pick at flaw after flaw in a film we sincerely enjoyed! Drew Goddard’s post-noir, post-Tarantino, post-Hitchcock thriller is an oddball, a delightfully playful collection of stories about secrets and regrets and temptations and damage. A fabulous ensemble cast is split up and paired off in all sorts of ways, histories are exposed, deception is currency, violence is brutal and shocking. And it all happens on one rainy night in a broken old motel in 1969.
We have few issues with Goddard’s screenplay, which, but for the exception of one or two characters who we reckon could have been given a little more flesh, is creative, clever, witty, and energetic. But as a director, we find him lacking – as José phrases it, he has no instinct for cinema. It’s a significant problem in a film that’s building upon and pastiching entire genres and movements of cinema.
We go back and forth on some of the performances, though they’re primarily good, and Jeff Bridges and Lewis Pullman in particular are just perfect. Mike appreciates that the film understands when to pull the rug out from under you and when not to. We agree that it’s destined to become a cult success, the type of film you want to know if your friends have seen. And we like trifle.
The podcast can be listened to in the players above or on iTunes.
It’s Eavesdropping’s first anniversary and we celebrate with a film Mike’s been looking forward to seeing for almost a decade. Alfred Hitchcock’s Dial M for Murder was released at the tail end of the short-lived Fifties 3D craze, and has rarely been seen in that format (even at the time). But it rolls around every so often and this week came to the Electric, so we jumped at the chance to see it.
A dialogue-heavy chamber piece, Dial M for Murder might not seem the obvious choice for the spectacle of 3D, but it’s for this reason that we find it interesting. José, who has seen it before in 3D, recalls his previous impressions of the importance of items – the keys, the handbag, the scissors – and how the stereoscopy relates to it. Mike, who wrote on 3D film at university and has defended it ever since, places Dial M for Murder in context, comparing it to both 3D of the time and today, suggesting how it was ahead of its time.
Away from the 3D, we find the film slight, a trifle, though enjoyable throughout and respectful of the audience – the film’s methodical nature is lovely. We find some of the performances disappointing, and one in particular delightful. We’re glad we saw it, even though José’s spectacles were broken.
José’s note on Dial M for Murder can be found here: https://notesonfilm1.com/2013/08/07/a-note-on-dial-m-for-murder/
Recorded on 23rd August 2018.
There’s a lot of lore written about Doris Day, her presence and her performance in Hitchcock’s The Man Who Knew Too Much. In Alfred Hitchcock: A Life in Darkness and Light, Patrick McGilligan writes that, ‘According to songwriter Jay Livingston, who wrote the theme song for The Man Who Knew Too Much, Day wouldn’t have appeared in the remake if not for the pressure from MCA, which represented Hitchcock and the actress. “His agent, MCA, said he couldn’t have [James] Stewart unless he took Doris Day,’ recalled Livingston. ” He told us he didn’t want Doris Day but he had to take her. He was very happy with her later’ (p. 517).
Indeed he was, and with reason: Doris gives a great performance in the film. She’s particularly wonderful in the scenes where she’s most hysterical, suppressing and on the verge of failing to contain emotion, the ones that demand most of her as an actress: when Stewart sedates her in Marrakesh, the Albert Hall scene, the scene where she sings Que sera sera again at the embassy knowing her son is upstairs. It’s a Doris Day audiences had barely had a glimpse of to then, though Hitchcock himself saw something of this in Day’s performance in Storm Warning, a KKK drama where she’d co-starred opposite Ginger Rogers and Ronald Reagan.
What caught my eye in the scene above is the tension between narrative and spectacle, between Doris Day as a singer/performer and as an actress, between what I take to be Hitchcock’s awareness of pleasing the audience, of film as a commercial enterprise, and his attempts at depth, of film as art. When I first saw this scene I thought Day was not good, that she was too much, that she was exceeding the bounds of her character in order to entertain the audience.
Hitchcock does odd and interesting things in this scene. The scene is prefaced by an image of a Crescent moon over over the minarets of Marrakesh, evoking strangeness, exoticism, a dash of danger. The film then dissolves into an image of Benjamin McKenna (James Stewart) looking in the mirror and dressing for dinner whilst Louis Bernard (Daniel Gélin), the man Jo (Doris Day) is so suspicious of, smokes by the balcony. We hear Jo beginning to sing ‘Que Sera Sera’ on the soundtrack. The camera then kind of creeps into the room, evoking a sense of portent. Then just as the camera crosses the threshold, it pans onto a mid-shot of Jo, also dressing for dinner and as the image of Doris Day appears, the son joins her in her singing. It’s a domestic scene but with an undertow of, not quite danger, more like potential disturbance. Everything is not quite right, and it’s not just because Louis Bernard is there.
On the word mother, as the boy sings, ‘I asked my mother, what will I be?’ Jo glances at Ben, who looks back, knowingly and lovingly before saying, ‘he’ll make a fine doctor’. Jo was a star of song and stage. Does she regret giving it up? Has it been an issue? Again, the choices in the mise-en-scène present but also raise questions doing so. And yet the focus remains on the boy and his future, particularly pertinent to the tension that is yet to reach its peak in the film but of which the mise-en-scène already makes us feel.
The next shot picks up on Jo, where the cut-reverse-cut with her husband started. She admires herself in the mirror, likes what she sees. As she enters the boy’s room to put him to bed, she swings her hips as if she’s on stage, and when she sings ‘Que Sera, Sera’ she sings ‘out’ as if to an audience, rather than to her son. Doris was never quite a belter. She’s one of the Twentieth Century’s great vocalists, a nuanced singer, with exquisite phrasing, and a tone that could seem hushed, caressing. She’s a singer who learned her trade on radio. But she’s singing ‘out’, as if to us in the audience rather than to her her child in the story, and she does this throughout the rest of the scene. She gives big broad smiles, make big broad gestures, sings the song as if she were in front of a band. It’s true that there are two men in the other room and that perhaps she’s singing to them as well as to her son. Certainly, Hitchcock always makes a point of returning to the child and the story. But the gestures are as broad as the singing. Doris is ostensibly putting her child to bed but she’s acting, and she’s being filmed, as if she’s performing at the Albert Hall. It’s a scene that feels disjunctive, where the spectacle of Doris Day singing seem to exceed the narrative of Jo putting her son to bed.
One of the beautiful aspects of Hitchcock’s filmmaking is how this will all make sense the next time Jo sings ‘Que Sera Sera’, when in fact she is ostensibly singing to an audience but really singing to her son, almost the obverse of the scene here.
Moments of ‘excess’ in Hitchock rarely are; here what may be initially observed as a moment of spectacle becomes the conveyor of a particular kind of feeling and meaning as well as the basis of later narrative cohesion, what’s planted at the beginning is brought marvellously to harvest at the end, including the guest in the room and the significance of the knock on the door that ends this little scene. It’s very beautifully done. And Doris is a joy to behold.
Torn Curtain is widely thought to rank amongst the worst of Hitchcock, a failed emulation of the Bond films so popular in the era, and remembered by Hitchcock afficionados mainly for the rupture in the relationship between Hitchcock and composer Bernard Herrman: Herrman wrote a score for the film but Hitchcock didn’t like it and commissioned a new, pop-ier one from John Addison. It was the last time they worked together.
David Thomson in The New Biographical Dictionary of Film writes, ‘No matter how many times the profit ratio of Psycho is repeated, it does not alter the fact that Hitchcock made several flops, several films in which the entire narrative structure — over which he spent such time and care — is grotesquely miscalculated. Stage Fright, The Trouble with Harry, Lifeboat, and Torn Curtain seem to me thumpingly bad films, helpless in the face of intransigent plots, true delicacy of humour and uncooperative players (p.401).’ It’s all relative I suppose but I don’t agree; or rather, Hitchcock’s worst offers more pleasures than almost anybody else’s best. I found a lot to like in Torn Curtain.
The story is an espionage thriller about a Professor (Paul Newman) and his assistant/fiancée (Julie Andrews), three months from tying the knot, who are at a scientific conference in Scandinavia when, much to the fiancée’s astonishment, the Professor decides to defect to East Berlin. Is he a traitor or is he a spy? We soon find out. The film boasts memorable and typically Hitchcockian set-pieces: the killing in the country-side farm, Paul Newman being followed in a museum, the couple escaping the university, the way they outmanoeuvre the Stasi and manage to escape from the ballet when every entrance is blocked by police, etc. Really, even minor Hitchcock is full of pleasures. Of Hollywood filmmakers, only Lubitsch is Hitchcock’s equal in engaging with the audience, making us complicit in what’s going, trusting us to be co-creators of aspects of the story being told and teasing, tricking, playing with us in order to please and delight.
The performances of the stars of Torn Curtain have been widely criticised, Thomson calling them ‘drab’ (p.402). Others regurgitating stories of how Hitchcock had wanted Eva Maria Saint and Cary Grant; how Paul Newman and Julie Andrews, the top box-office stars of this period, were imposed on Hitchcock by the studio; how Newman was — to Hitchock’s annoyance — too method; how he found Julie Andrews not beautiful or sexy enough.
Be that as it may, there’s no question that he took great care with the presentation of these stars. We’re introduced to them in bed, with their coats over the blankets, making love and trying to keep warm. Then, we see their name tags of the characters they play in alternating close-ups, first Dr. Sarah Sherman and then Professor Michael Armstrong. We first see the backs of their heads, then extreme close-ups of the couple kissing. We know they’ve just had sex: ‘let’s call this lunch,’ says Armstrong. It’s a sexy spin on Julie Andrews’ star persona. Here is Mary Poppins and the novice from The Sound of Music in bed with Paul Newman; and they’re not even married! That must have been a thrilling star entrance to fans of both stars. Moreover, Hitchcock and his team light them beautifully. Look at the shine of the pin spot in Andrew’s eyes in fig. A. How Newman’s eyes, then widely publicised as the most beautiful blues in the world, are presented in an enormous close-up, so big as to encompass only one eye, made to shine against the light (fig. B). Note too, the prominent display of Newman’s body throughout the film (fig. C).
‘Performance’ is not everything in commercial filmmaking, particularly when it’s a question of stars. Newman and Andrews are not bad; the director makes an interesting play on audience expectations, giving them a theatrical star entrance, lighting them gorgeously, dressing them both attractively and meaningfully, and playing on and developing their star personas, particularly that of Andrews. I loved seeing them in this, and stars by their very nature should not need to play a ‘role of a lifetime’ to bring their audience pleasure; often their presence is enough for their fans. When presented as carefully and to so much advantage as here, it is much more than enough. Newman and Andrews were a draw then and are still reasons to see this film.
It is true that the stars, delightful as they are to see, do not give memorable performances. But I do think it would be fair to say that some of the performances in Torn Curtain have become legendary. Wolfgang Kieling as Hermann Gromek, Armstrong’s East German body-guard, with his East-European accent and his American slang, funny and menacing, always watchable, is an outsize cartoon. It’s a particular type of performance, very theatrical, very knowing, aimed at the audience, and clearly a type Hitchcock delights in.
I’ve made a gif of his famous death scene so as to exaggerate his hand gestures (see above). This is an actor who knows how to make the most of a scene even in the absence of his face or even most of his body, who steals the scene from his co-stars by showing us his expiration only with a wave of his fingers, but they wave and wave, each movement expressing something slightly different but within an overall arc, like those hams who can turn being shot into a five minute dance with death. I find it delightful, so much better than merely ‘realistic’ and Hitchcock must have also, or he would have shot it differently, shortened it or cut it altogether.
Much as I love Kieling’s performance, one never gets a sense that he’s playing a real person. This is not true of Lila Kedrova’s marvellous turn as the Countess Kuchinska, the Polish Countess, not ‘communistical’, sneering at the quality of the tobacco and the coffee and desperate for American sponsorship of her visa application. As you can see below, each of her ‘faces’ is beautifully expressive, and she does run the gamut of expression.
I tried to do some image capture to illustrate and the enormous range of vivid expressions she brought even within one shot quickly became evident. No single still would do, so I created a compilation from her scenes in the cafe with Julie Andrews and Paul Newman. Kedrova’s performance is theatrical, almost Delsartean in her gestures, and she looks like a wounded French bulldog, but one gets a sense of a person who’s elegant, pained, powerful but helpless, bewildered. There’s a person that’s constructed out of those arresting expression and those wounded eyes. How did the countess arrive from Poland to East Berlin? What did she have to live through? It’s clear that she was once beautiful and that maybe she could no longer use that to the advantage she once did. What did her class, her gender, her beauty and her foreignness play in her survival? What sort of desperation drives an already old person to go to such lengths to get out?
I love the last shot in the clip above. The countess has finally gotten the American couple the information they needed. But just as they succeed the police arrives. She trips the policeman to allow the couple to escape, knowing that doing so seals her own doom. Hitchcock shows us a close-up of the rifle falling down the stairs, and then the camera cranes right up the stairs into a close-up of Lila Kedrova’s face as the Countess says, ‘My sponsor, my sponsor for United States of America’. It’s simultaneously camp and touching. Kedrova is giving a charismatic, theatrical performance (her elegant posture on the stairs, her voicing of the dialogue) that moves us through the recognisable humanity she expresses. For her all is lost. And Hitchcock wants us to see this enough to arrange a complex shot that is in itself arresting, spectacular. The American couple has a chance; for the Polish Countess in East Berlin, there’s no more hope. And Hitchcock and Kedrova, together, know how to convey the drama and truth of that moment, a moment where spectacle and feeling are rendered one. It’s lovely.
Dress, Décor, Angle and Framing as Part of Mise-en-scéne:
I understand that Hitchcock was disappointed with Torn Curtain but was pleased with what he’d been able to accomplish as an exercise on light and composition. These are some aspects of the film that aroused my interest and delighted my sight.
The reason why I started off writing this piece, but which I’ve left to the end, is that even in the worst of Hitchcock one finds moments of real poetry. In the scene below there are many things to admire. I decided to start the clip in the previous scene, so that you can see the close-up on Julie Andrews’ face as she says ‘East Berlin, but that’s behind the Iron Curtain’. That will rhyme with the very last shot of the scene, which is a masterpiece of expression. In between note how the cut is on Michael’s face seen slightly from behind now on the plane. From her to him, each facing in the opposite direction, and now in a new context, note how the camera tracks slowly back to allow us to take the new context in, and in full, before the camera pans right to a close-up of the befuddled Sarah. Note how the cutting speeds up when he sees her, the repetition of the tracking shot, but much faster as Michael heads to Sarah, then the change in direction but at the same speed as he approaches her. They’re superb choices.
But the pièce-de-resistance is the last shot on Sarah. That last close-up, after Michael has told her to stop following him and go home, which rhymes with the close-up of her finding out he’s going to East Berlin, but now filmed from a slightly higher angle to indicate Michael’s point-of-view on Sarah, and then the beautiful way the image begins to dissolve, goes out of focus, undulates, distorts. Note Hitchcock’s confidence in the length of its duration. And then the quick cut onto the opening doors of the plane with its view of East Berlin’s airport. It’s like all Sarah’s hopes, dreams, are extinguished and expire in that moment where everything goes out of focus and distorts only to be confronted by the harshness of a new reality with all her past knowledge put into doubt. It’s beautiful. A great moment of cinema. And one of many reasons to see the film.
I saw this on a gorgeous blu-ray transfer from Universal Studios: Alfred Hitchcock: The Masterpiece Collection.
Dial M for Murder
(Alfred Hitchcock, USA, 1954)
I saw Dial M for Murder in 3-D last night and what struck me most is what a bad actress Grace Kelly really was and how little that matters when you look and dress like that in a Hitchcock film. She’s just stunning in that red Edward Carrere dress with the matching lace shrug (though the shrug itself, cutting into her armpits as it does, is badly designed — we can understand why Hitchcock would move on to Edith Head). Also, The use of 3-D WAS and remains exceptional. The whole film is about the control of space, control over how things are placed in that living room, and the fear and terror any misplacement of things within that space incurs, as things being out of place could and do lead to death. Kelly is able to save herself because her scissors aren’t where they’re supposed to be. And of course, the keys, the key to the crime, the whole resolution to the mystery, relies on first finding out where they are, then where they’re supposed to be, and then realigning where they’re supposed to have been in the light of whose they were. It’s all about the placement of things in space, just like in a 3-D movie. It’s a fascinating exercise. Hitchcock uses quite long fluid takes, sometimes the 3-D is not for effect, except obviously at the climax, but simply to build a 3-Dimensional look for that space. A lamp, a phone, a purse is what anchors it. They’re where they’re supposed to be. Wonderful to see.
Aside from applauding at the concept, at the 3-D and at the execution, one really is left wondering about actors. I mean Kelly is not good but beautiful, Ray Milland is past his prime, well, he never really had a prime but he’s ok. But Robert Cummings? I’m sure Hitchcock had reasons for his casting but I’m sure they couldn’t have had anything to do with making the film better. He seems fit only for something like Bewitched, as Samantha’s husband perhaps,
David Bordwell offers a very informative take on the film here: http://www.davidbordwell.net/blog/2012/09/07/dial-m-for-murder-hitchcock-frets-not-at-his-narrow-room/