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The Lodger (1927)

Ever since reading FictonFan’s and Silverscreening’s reviews of Alfred Hitchcock’s The Lodger, I have been doubly curious to see the film, which is also my contribution to Coffee, Classics, & Craziness’ “The Alfred Hitchcock Blogathon 2017.” It was the third film that Alfred Hitchcock directed, but is the one that he considered essentially his first film, the first to be recognizably Hitchcockian.

The Lodger is one of many film and stage adaptations of the novel by Marie Belloc Loundes, published in 1911 and inspired by the Jack the Ripper murders in 1888. Hitchcock’s film, however, appears to be set in 1927, though there is a definite gaslight and Gothic ethos. Ivor Novello, who plays the mysterious lodger, would have made a fantastic Dracula, actually.

The film opens with a silent scream.

Neil Brand, who wrote the contemporary score for the version I saw, has the orchestra scream along with the image. The scream reminded me of Hitchcock’s later close-up image of Janet Leigh screaming in the shower in Psycho. The beginning of The Lodger is really excellent and demonstrates Hitchcock’s visual skill, which requires minimal inter titles to explain the action. A blonde girl (Hitchcock already demonstrating his preference for blonds) has been murdered. There is one witness, who says she saw a tall man with a scarf wrapped around the lower half of his face. We see the police, the curious spectators, the ghoulish interest, the press, everything in a rapid fire of images (including a brief glimpse of Hitchcock). We also see a sign for a show called “Golden Curls.” The image of the sign will show up mockingly throughout the film.

The story then shifts to Mrs. Bunting (Marie Ault), her husband (Arthur Chesney), their daughter Daisy (June Tripp…who has golden curls), and the boyfriend/policeman Joe (Malcolm Keen). Joe and Daisy flirt with a heart-shaped cookie cutter and some dough, once again demonstrating Hitchcock’s flair for visual storytelling. Into this tranquil and domestic scene comes…the Lodger! Who looks like Dracula, or at the very least his cousin.

played by Ivor Novello

Would you let this man rent a room in your house?

The lodger is definitely a strange young man, who doesn’t like pictures of women with golden curls in his room and has a habit of looking tormented by some inner turmoil. Not to mention pacing restlessly in his room, which is shown with a glass floor that shows him walking while the Buntings look up at the ceiling, the visuals of his footsteps almost making us “hear” the sound of his footsteps that the Buntings actually hear. When the lodger’s not looking creepy, he looks like Lord Byron, all sensitivity and anguish.

Hurting him would be like hurting a puppy

The tension in the film comes from Mrs. Bunting and her husband beginning to suspect that their lodger is the mysterious killer after he sneaked out at night and was gone during the time when another golden-curled woman was murdered. Their anxiety is heightened when he shows a strong interest in Daisy, who does not see anything wrong in the lodger’s behavior. Joe, on the other hand, grows increasingly jealous.

It’s quite an exciting, atmospheric film and really shows Hitchcock’s ability to create tension visually rather than via words, as well as hitting on a number of themes that he would explore later. And if you have never seen it, I would definitely recommend watching it before reading the spoilers section below.

(Spoilers) I have to admit that I knew the surprise ending before coming into the film, that the lodger is actually, incontrovertibly innocent (unlike Laird Cregar’s lodger in the 1944 film), but I was curious how it would play out. The lodger’s innocence had a rather odd affect, I thought, somewhat like the affect of Hitchcock’s later Suspicion, though far less egregious. It makes Ivor Novello’s performance both sinister and romantic, which makes him a creepy lover. At one moment, he is stalking Daisy to her job as a model and buying her the dress she was modeling (it’s obvious that he’s a well-off young man, socially far above Daisy) and another moment gazing soulfully into her eyes like a young man with bad case of puppy love. In fact, the second part of the film feels more like a romance than a mystery or thriller.

I also have to admit that my view of the characters is somewhat colored by the fact that about two-thirds of the way through the movie, my sister labeled the two romantic leads as “pretty ninnies.” This is partly because the plot is not consistent. If he’s innocent, why didn’t he go to the police? Why did he run? Why is she standing by him, even though she knows nothing about it. They do not behave rationally. But they certainly look pretty while their doing it…especially Novello.

still looking mysterious

It is interesting to note that never again would Hitchcock have a woman place such unreasoning faith in a man for no reason. In The 39 Steps, Madeleine Carroll initially tries to turn Robert Donat in, Eva Marie Saint “helps” Cary Grant because she’s really working for the villain, Grace Kelly is simply turned on by the fact that she believes Cary Grant is a criminal in To Catch a Thief, and in Sabateur Priscilla Lane also initially tries to turn Robert Cummings in.

Regarding the ending, however, I’ve noticed that there is a theory floating around on the internet about another possible interpretation of the end of the film, which jives with my own impressions. Perhaps he really is the killer after all! Hitchcock originally meant to have the ending be ambiguous, but when Ivor Novello was cast, he was forced to change the script so that the leading man (rather like Cary Grant in Suspicion) would be innocent. But quite a few questions go unanswered. Like who killed the lodger’s sister and why? His sister was the first victim, but she died in the middle of a ballroom when the lights are turned off. Whoever killed her had to be someone in upper class society. But her murder doesn’t fit with all the other murders that come after, which seem to be happening in the street. Which makes one wonder if the lodger really killed his sister and went on a mad spree afterwards, until he saw Daisy, who perhaps reminded him of his sister.

It’s just a theory, but it seems odd that Hitchcock would make the lodger’s mansion look so creepy and Gothic. I half expected him to greet Daisy and her parents by saying, “I am…Dracula.” And then when they embrace, we can see the sign “To Night – Golden Curls” blinking in the background. Is it meant to be portentous of what is to come? Evidently, Neil Brand, the composer, thought so because as the lodger and Daisy embrace, the music grows gradually more ominous. Hmm.

His victims, waiting for Dracula to appear

Dracula welcomes his victims

Why is the sign “To Night Golden Curls” blinking in the background? Is that meant to be ironic or prophetic?

This post is my contribution to “The Alfred Hitchcock Blogathon 2017.” Be sure to check out the other posts, which can be found here.

 

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Posted by on August 13, 2017 in Movies

 

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Vertigo: Film Score, Herrmann, and Wagner

vertigo_soundtrack_coverWhen I first saw Vertigo I was not at all sure I liked it. I knew nothing about it before viewing and I was surprised and made a little uncomfortable by the story. But it wouldn’t leave my mind and I had to watch it a second time soon after, just to get a better handle on the story.

I watched it again, recently, and there’s something about it that I find impossible to shake. It sticks with you like few movies do. Haunting, aching, longing, dreamlike…

There are many things you could say Vertigo is about: obsession, a revelation of Hitchcock’s own obsessions and desires regarding the blonde leads in his own films; but at its most basic core, Vertigo is about longing. Especially longing for something that does not exist or cannot be attained. All people have it. What Scottie has is the mad desire to try bring it about, no matter the cost to other people. Most of us simply accept it.

It really stood out to me when I last watched Vertigo, how Scottie becomes completely absorbed in the story of Madeleine. He even seems to forget about Gavin Elster, the supposed husband. He’s consumed with Madeleine and her story…a story that is entirely made up. He can’t even see Midge, who is real and warm and solid and always there for him. In Vertigo, reality seems just as much of a dream to Scottie as the dream that Scottie falls for.

(Random aside: my sister and I wondered why Midge had broken off her engagement with Scottie all those years before. Was it because she knew he never loved her, could never love her, or did she sense there was something a little off about him, that something in him that leads him to prefer the illusion of Madeleine over the very real love of Midge and Judy?)

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Hitchcock and Herrmann

It was also interesting to listen to Bernard Herrmann’s achingly beautiful score for Vertigo in isolation from the film and visuals. What is interesting is how the obsession of the film takes a back seat and the longing comes strongly to the fore. It almost aches to listen to the soundtrack. Alex Ross, a music critic for The New Yorker, points out how tonally rootless the score is. It never finds it’s footing, tonally, leaving the listener feeling a bit lost. He also writes about the sequence where Scottie follows Madeleine. It is an extended, virtually a silent sequence, only accompanied by Herrmann’s score

Wistful hints of melody circle back on themselves instead of building into thematic phrases…The sequence is profoundly eerie but also very beautiful: it is neither tonal nor dissonant.

For Herrmann’s ‘Scène d’amour,’ he took inspiration from Richard Wagner’s “Liebestod,” from the opera Tristan und Isolde. Liebestod apparently means “love-death,” which seems very fitting for Vertigo. The specter of death practically drenches the movie.

There is, apparently, some controversy about the title of “Liebestod.” The title is usually used to refer to the aria Isolde sings over Tristan’s dead body, but Wagner evidently never referred to it as such. He called it “Verklärung” (Transfiguration). There is apparently some question about whether or not Isolde dies in the opera, as well. But Wagner referred to the prelude at the beginning of the first act as “Liebestod.” Either way, Herrmann has seemed to derive inspiration from both pieces of music.

Here is “Scene D’Amour,” where Scottie first sees Judy completely transformed into Madeleine.

And an orchestral version of the aria Isolde sings from Tristan und Isold. Compare 3:00 of “Scene D’Amour” with 4:00 of “Liebestod.”

The Prelude, which apparently is the real “Liebestod.”

 
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Posted by on October 12, 2016 in Music

 

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Foreign Correspondent (1940)

1138Foreign Correspondent was the second movie that Alfred Hitchcock made in American, following the Gothic, psychological romance Rebecca with a WWII thriller. Actually, the film is only somewhat a WWII thriller. Take out the epilogue and one would hardly know, though there’s a lot of talk about a coming war in Europe.

The editor of the New York Globe – Powers (Harry Davenport) – is frustrated with his foreign correspondents in Europe. All they can give him is speculation about the coming of war with no hard facts. It’s driving him nuts, so he chooses Johnny Jones (Joel McCrea) to go to Europe, a scrappy journalist who got into a fight with a policeman in pursuit of a story and has no particular agenda or political bent.

“What Europe needs is a fresh, unused mind,” Powers observes. So Johnny Jones is sent to Amsterdam with a new name – Huntley Haverstock, provided by Powers – and orders to interview a Dutch politician named Van Meer (Albert Basserman), who is central to the negotiations for peace. Johnny is also put into contact with the British Stephen Fisher (Herbert Marshall), who is head of the Universal Peace Party, which is about to hold an important conference. In the meantime, Johnny also falls in love with Fisher’s daughter, Carol (Laraine Day)

In many ways, Foreign Correspondent feels similar to North By Northwest. Simple American gets mixed up in foreign intrigue and is on the run. Van Meer is assassinated….no, wait… he’s actually abducted. There is a secret clause to a peace treaty that the villains (it’s not mentioned, but they are understood to be Nazis) wish to know from Van Meer. The plot is, however, unlike North By Northwest in that there is a lot of it, a lot of characters and it’s a bit confusing at times.

But the film itself is extremely entertaining, full of wit, with some terrific thrills and memorable scenes and a cast that has a lot to offer. I’ve always loved Herbert Marshall’s voice and as Fisher he makes an excellent, unexpected villain. The secret is that his character is really German (was his name originally Fischer…he just dropped the c?). But he’s a villain with one, glaring weakness. He loves his daughter and in some ways, he’s one of Hitchcock’s least evil villains. He even gets to have a heroic end.

George Sanders also gets to play against type…this time as a good guy. Scott folliott (when his ancestor lost his head to Henry VIII, his ancestor’s wife dropped the capital letter to”commemorate the occasion”). He’s a journalist, too, one of those daring young British types who always makes a joke in the face of danger.

Edmund Gwenn gets a delightful role as Rowley, a cockney assassin who keeps trying to kill Johnny without sucess. Robert Benchley makes an appearance as a dyspeptic correspondent who is now reduced to drinking milk and taking pills and Albert Basserman is the heartfelt voice of the little people against the fascists (his speech in defiance of the Nazis in the middle of the film always drew applause in 1940).

Joel McCrea is one of those actors I seem to like the more I see him. He’s not a flashy actor – I’ve heard him called the poor man’s Gary Cooper, which seems unfair – but he has a central integrity, charm, capable of snark, but also of sweetness…also sincerity, without ever taking himself too seriously. He always seems willing for a joke to be at his expense and to look a little silly. He’s more of an every man than Cary Grant, but a bit more articulate than Gary Cooper.

Laraine Day is not your typical Hitchcock blonde heroine, but the film’s all the better for it. She’s one of the most normal, well-adjusted of all Hitchcock’s heroines (despite having a Nazi for a father)  and the romance between McCrea and Day is unusually sweet for a Hitchcock film.

There are also some wonderful scenes that are very unique to Hitchcock. An assassination in the driving rain, on the steps to a building, then darting away underneath a sea of umbrellas. Sneaking around the inside of a curiously expressionistic windmill. A plane crash in the middle of an ocean. Escape from assassins through a bathroom window in nothing but underwear and a robe.

There are a few moments that mark the film out as having been made specifically during WWII, such as Albert Basserman’s role as Van Meer. But the prevailing ethos is that of Johnny and Scott ffoliott as reporters out for a scoop…somewhat like His Girl Friday. Theoretically, they’re doing it for patriotic reasons, but mostly their just doing it because they’re reporters and they’ve happened on the biggest scoop short of a declaration of war (which does come in the middle of the film). It is Carol and her father who are the ones motivated by patriotism (though admittedly patriotism to separate countries).

The ending, however, is the most striking example of a wartime message. It was added after the end of the film’s shooting and when real-life London was under attack from German air raids. In the film, Johnny is giving the news via radio to America when an air raid occurs and the lights go out and he is forced to modify his message, exhorting America to keep the lights burning, so to speak. It is a direct appeal from Britain to America in 1940, though America wouldn’t get into the war until the end of 1941.

This post was written for The Alfred Hitchcock Blogathon. Thanks so much to Coffee, Classics, & Craziness for hosting!!! Be sure to read all the other posts on Hitchcock.

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Posted by on August 13, 2016 in Movies

 

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