ALFRED HITCHCOCK

[JackFavell]

Great! Thanks for the link.

[Konway]

Here is my review for The Trouble with Harry. But it contains SPOILERS.

"What seems to be the trouble, Captain?"

This line was Hitchcock favorite line out of all lines in his films. I think this line explains the entire film of The Trouble with Harry. People were expecting a realistic story with a dead body. With this film, Hitchcock made a film where the exact opposite happens instead of what we expect to happen with a dead body. For Example, if a woman usually sees a man dragging a dead body, then she will scream or she will run away in fear. But instead, Hitchcock brings Miss Gravely (Mildred Natwick) to Captain (Edmund Gwenn) and asks him "what seems to be the trouble, captain?" Usually, the death of someone is a representation of both an end of life and an end of all relationships with this dead person. But Hitchcock decided "to begin" a new life and a new relationship between Miss Gravely and Captain through Harry's death. We see that Captain and Miss Gravely had no relationship although they lived in the past as neighbors for three years. But the "death" of Harry brings them to a "birth" of a new love relationship. Like the older generation (Captain and Miss Gravely), this "birth" of a new relationship also applies to the younger generation (Forsythe and Maclaine).

Since the birth of their relationship began due to the death of Harry, the subject of "the death" ended up becoming a major part of the conversation during captain's date with Miss Gravely in the afternoon. The touches like these are throughout the film. I think Hitchcock tried to "imply" that Harry could have been a homosexual through "the words" of Jennifer Rogers. Due to censors, Hitchcock can only imply it. On top of this, the trouble with harry also has to do with the fact that harry became an even more terror to all 4 characters after he died. The person can only "cause" a trouble when he/she is alive. But here, the trouble "rises" with Harry's death. Alfred Hitchcock decided to do the exact opposite of what we expect with the subject of "dead" and "a dead body." As you know, The Trouble with Harry was beginning of the collaboration of Alfred Hitchcock and Bernard Herrmann. So in "real life", we see "the birth" of a collaboration through a film like "The Trouble with Harry." The film also has a wonderful cinematography. The cinematography is "lively" for a film like The Trouble with Harry. Although Edmund Gwenn was good, still I always wondered Alastair Sim would have played his role. I believe Hitchcock originally wanted William Holden for the role of Sam Marlowe. But the role went to John Forsythe. I like John Forsythe for this role. I thought the strong performance came from him. Mildred Natwick and Shirley Maclaine were good too. I want to write more. But it will be a long post. I rate the film 8.5 out of 10.

[JackFavell]

You've put that so well, Konway! I love the 'life coming back in the midst of death' idea in The Trouble With Harry. I haven't seen it for a long time, isn't Forsyte's character a widower? So life and love come to him too, just like everyone else who comes in contact with Harry. He's like a love potion!

[RedRiver]

I've always been partial to SPELLBOUND. It's not one of his very best films. But boy, is it fascinating! It says a lot about a director that a movie can be that good and NOT be among his best work.

[Konway]

Jack Favell, I don't know if Sam Marlowe (John Forsythe) was a widower. I guess I will have to look into the film when I get a chance.

RedRiver, I think Spellbound is also one of the first films to deal with psychoanalysis. It is certainly an interesting film. David O. Selznick and Hitchcock disliked the composition of Miklos Rozsa for this film, because they felt it was too repetitive. Miklos Rozsa's cues for some of the scenes in Spellbound were just like the previous films (Double Indemnity and The Lost Weekend) Rozsa composed. So Franz Waxman's music from Suspicion was used instead for some of the scenes in the film (For Example, Skii scene).

[mongoII]

Alfred Hitchcock hoovers over Tippi Hedren on the set of "Marnie"

[Konway]

One of the reasons of the falling out between the relationship of Hitchcock and Tippi Hedren was that Tippi called Hitchcock "A Fat Pig" on the set of Marnie. Hitchcock was so offended by what she said. Alfred Hitchcock said that to writer John Russell Taylor.

A Similar incident happen in Sabotage. Hitchcock loved the acting ability of actress Sylvia Sidney. But Sidney was uncomfortable with Hitchcock's direction, because his direction style was different. Sylvia Sidney said that Hitchcock wanted her to be a puppet. But many years later, she realized that his direction style was different and she was much more kind towards Hitchcock than she was before.

Donald Spoto wrote lots of wrong information about Hitchcock. So please don't believe what he writes.

[MissGoddess]

I wouldn't touch a Spoto book with tongs.

[Konway]

If anyone is interested, then box office information about Hitchcock's films are available here.

http://cogerson.hubpages.com/hub/Alfred ... -Inflation

As you all know, Vertigo was a box office failure. But I was also surprised to learn that Hitchcock's films like Saboteur, Shadow of A Doubt, and Stage fright weren't successful at box office.

Hitchock's other box office failures were The Paradine Case, Rope, Under Capricorn, I Confess, The Trouble with Harry, and Topaz. Although films like Torn Curtain and Jamaica Inn were box office hits, still Hitchcock was unhappy all over these films.

[RedRiver]

I'm surprised SABOTEUR wasn't successful. Wartime adventure, tastefully propagandous (I think I just made up that word, but I like it), a couple of attractive stars. It seems like the kind of thing the public would have liked. Somebody told me Norman Lloyd is still alive! Is this true?

[Konway]

Yes, Norman Lloyd is still alive. He is turning 98 this November 8th. His marriage to Peggy Lloyd is one of the longest in the Hollywood history. They were married for 75 years until Peggy's death.

SPOILERS (contains Saboteur)

I like Saboteur, because we have different types of talent actors. Robert Cummings was a light comedian. So his scenes especially with humor standout very well. Priscilla Lane was great as a stubborn niece of Philip Martin. Vaughan Glaser was unique as the Blind Man. Otto Kruger and Norman Lloyd are great as the destructive villains.

[Rita Hayworth]

I'm surprised SABOTEUR wasn't successful. Wartime adventure, tastefully propagandous (I think I just made up that word, but I like it), a couple of attractive stars. It seems like the kind of thing the public would have liked. Somebody told me Norman Lloyd is still alive! Is this true?

At his advanced age ... he still doing work in television ... he did a commerical for an organization called California One Care ... I learned of that from my friends that live in California. Here is a recent photo of him.

[JackFavell]

He was also at the TCM film festival, I believe, and is booked for the upcoming cruise. God bless him... hope I'm as able to get around at 98, if I live so long.

Saboteur is one of my very favorite Hitch films, for several years it was my favorite. Though not as classy, tightly scripted or high budget as Shadow of a Doubt, Strangers on a Train or any of Hitch's bigger projects, it's themes are totally up my alley - I love movies about tolerance where those who are frowned upon are the heroes or the good guys. The idea that the American people are willing to give someone the benefit of the doubt is lovely, in any film not just a war film that wants to prove a point about what we were fighting for. The carnival sideshow folks, they MAKE the movie for me, and the whole idea of democracy come to life in this microcosm of the world, well I eat that up with a spoon.

I always wonder if Hitch was impressed by Freaks when it came out? Another great movie where the underdog is the hero, but also a great revenge story (as tolerant as I try to be, I like a good revenge story better than anything.)

[Konway]

SPOILERS (for Saboteur)

I like Saboteur, because of the idea of judging a person based on his/her appearance. Patricia Martin (Priscilla Lane) doesn't believe in Barry (Robert Cummings), because she believes he looks like a Saboteur and she also believes that he has a Saboteur's disposition. This is a brilliant psychological touch from Hitchcock. If you believe it that way, then you will see it that way. This was used again in I Confess and The Wrong Man. In the beginning of "The Wrong Man", we see that the women at the insurance office are afraid of Manny (Henry Fonda), because they think he is the armed robber. Since these women "believed" that Manny was the armed robber, they saw him that way.

In Saboteur, When Barry met Tobin with his granddaughter, we see him as a nice grandfather who plays with his granddaughter. Here we "like" Tobin based on what we "saw" just like Priscilla Lane's character "disliked" Barry based on what she saw (Barry and his handcuffs). When Barry and the audience explores the "inner intentions" of Tobin, we realize what kind of a man he is.

With Philip Martin (Vaughan Glaser), we know that he is a blind man. Since he can't "see," we also "believe" that he doesn't know that Barry has handcuffs and he is also trying to escape from the police. But later, we realize that he knows far more than we do. Despite his blindness, he was able to completely understand Barry's mind. Through Philip Martin, we come to realize that the inside of a man is what matters and not the outside. Through his blindness, Philip Martin shows audience that the "existence" of spiritual things are very important and these spiritual things cannot be "visually seen" through our eyes. For Example, the "innocence" of Barry. We see examples like these throughout the film. Another great example is the difference between Major and Bones in Circus Caravan.

This is the same mistake the villain Freeman (Clem Bevans) made. He "believes" Barry based on what he "saw" (Newspaper "Uncle Sam wants this man" and his handcuffs). He failed to understand "the inner intentions" of Barry. Instead of understanding Barry's difficult position and his inner intentions, Patricia (Priscilla) "again" makes the mistake by believing what Barry said to Freeman and goes to local sheriff. She believes sheriff based on his "position" (sheriff) and later gets into the trap. When Patricia realizes her mistake at Mrs. Sutton's house, she immediately goes to support Barry. Later, Barry and Patricia tries to convince people in the party that the host Mrs. Sutton and others with her are spies and saboteurs. But they don't believe his "true words" and they also ignore Barry. Just like others, they are judging based on the appearances when they say that "You are drunk. You aren't even dressed."

I believe the script of Saboteur is written in such a way where the idea is cleverly constructed and cleverly used throughout the film. I also like the use of the billboards of Patricia Martin (Priscilla Lane), because it allows the audience to explore a lot "closer" into the frightening position of Barry. I liked the casting of Robert Cummings, because it will "later" allow the audience to understand why Cummings is in such a difficult position where he is being judged based on his appearances. Compared to the leading female characters in The 39 steps, Foreign Correspondent, and North by Northwest, she is a woman (with a strong will) who faces the villain Frank Fry all by herself in order to save the man she loves. Vaughan glaser is brilliant as the perceptive blind man, Smiling Otto Kruger is brutal, and the short Norman Lloyd is destructive as Frank Fry. Wonderful Performances from Everyone.

[MissGoddess]

I love what you point out about appearances being deceiving. In a way, Hitch is taking the favorite device of Shakespeare and other playwrights, "mistaken identity", and putting a new and modern psychological twist on it.