Displaying items by tag: Alfred Hitchcock

MY NAME IS ALFRED HITCHCOCK

UK, 2023, 120 minutes, Colour.

Voice: Alistair McGowan.

Directed by Mark Cousins.

A documentary about Alfred Hitchcock, about Hitchcock as a person, Hitchcock’s career, focusing on his movies (not on his television series).

There have been many books and documentaries about Hitchcock, for example I Am Alfred Hitchcock, and the important interview book by François Truffaut.

This is a documentary for film buffs. Over the years, Mark Cousins has proven himself a film buff par excellence, the film scholar, a moving man who knows how to comment on films, visualise the history of cinema, invite his audience to enjoy but also to reflect. And this is the case here.

However, he has used a cinematic device, that Hitchcock himself, over 40 years after his death, should narrate his story, describe his filmmaking techniques, his relationship with his actors, his particular themes, and address them to 21^st-century audience with reference to 21^st-century sensibilities as well is social media, mobile phones…

Most audiences have enjoyed this device though some purists are strongly against it. Mark Cousins has written and directed the film and relied on voice impersonator, Alistair McGowan, to communicate via Hitchcock’s voice and, for most audiences, this will be most persuasive.

The film is divided into various sections, illustrating particular themes that Hitchcock wants to illustrate. There is a long introduction with the title Escape, Hitchcock commenting on the range of escape sequences in his films and their significance. He also plays with the themes of: Desire, Time, Height.

A reassurance for those going into the film and wondering whether every film will have at least a clip and some commentary. All of them are there, the least being his film, Topaz. They don’t come in any chronological order and sometimes audiences will have to wait to the final section to catch a glimpse of their favourite. It is surprising that some films get far more treatment than one might have imagined, whether this is Hitchcock’s choice or Mark Cousins’s choice, but a lot of attention is given to Torn Curtain, Notorious

As regards Hitchcock’s own life, there are scenes of London and where he was brought up in the first two decades of the 20^th century, there are the film studios where he worked in the 1920s and 1930s, there is the move to America in 1939, clashes with David O.Selznick about Rebecca, the fact that he was away from England during the war and the number of films he made during the war period, supporting the Allied effort. In fact, the film gives quite a deal of attention in many different ways to his films of the 1940s, even some colour sequences from Under Capricorn.

And there is relationship with his wife, Alma Reville, his devotion to her (dramatised with Anthony Hopkins and Helen Mirren in Hitchcock), their work together, their daughter, Patricia.

Film buffs will be pleased to see so much attention given to Hitchcock’s films of the 1920s, and clips from all of them and some commentary. And, there is quite an amount of material from his films of the 1930s, even Barry Fitzgerald in Juno and the Paycock which he notes that remarks most people will not have seen. There is nothing from Elstree Calling or his Strauss film.

And there is a great deal from Blackmail and from Rope, the 1950s, including some scenes from Stagefright, the mutual murder themes from Strangers on a Train, from Dial M for Murder, The Trouble with Harry, but, especially, Rear Window, To Catch a Thief, Vertigo and North by Northwest.

But, of all his films, it is Psycho it receives most attention, difficulties with the studio, aspects of the filming, many sequences, and even a criticism of the finale in court. And, honouring the 1960s, several sequences from The Birds and Marnie.

Hitchcock made only two films in the 1970s, returned to England for Frenzy, and showing some scenes from his final film. Family Plot, especially a wink at the end.

Hitchcock pays tributes to his cinematographers (but no acknowledgement of his composes like Bernard Herrman). And, he is very much at home with his stars, referring them by name, Cary, Jimmy, Gregory, Ingrid, Tippi… And Henry Fonda as Hank, stating that The Wrong Man is his most serious film, along with his other Catholic film, I Confess.

Probably too bewildering with all the references and quotes for an audience not familiar with the films of Alfred Hitchcock – though, the glimpses of Hitchcock himself and photos, in clips, in statues as well as his evocative voice-over, may be an enticement to follow up.

On the other hand, film students will have their finger on the pause and rewind button just to listen again to the informative detail that Hitchcock gives about how he set up scenes, his camera angles, camera motion, and the reasons for the style of the shots, the film being a masterclass on filmmaking via the creativity and talent of Alfred Hitchcock.

ELSTREE CALLING

UK, 1930, 86 minutes, Black and white.

Tommy Handley, Gordon being, Teddy Brown, Helen Burnell, Donald Calthorpe, the Charlot Girls, Cicely Courtneidge, Will Fyffe, Gordon Harker, Jack Hulbert, Hannah Jones, John Longden, Anna May Wong.

Directed by Adrian Brunell, Alfred Hitchcock.

This is something of an antique. Immediately, it is an opportunity to see work at Elstree Studios in the early 1930s, not just for filmmaking but also for the advent of television, the science behind television and its broadcast, the role of the MC, the various acts and their staging, comedy, music, glamour, dance, Shakespeare, farce… It does all look a bit antiquated now and there are various aspects which 21^st-century standards would be critical of, the very talented dancers but there appearing in Black Face, the touch of sexual harassment and comment,

There are also some comic sequences at homes with the television set is playing up and another successful.

But, the main reason for seeing this film is that the acts were directed by Alfred Hitchcock. He had been very successful with his silent films, his cinema techniques, storyboarding, inventiveness, his exploration of themes, the transition from silent to talky, and his initial thrillers.

There is very little characteristic Hitchcock material here but, the fact is that he is credited as directing the acts and, whether he was happy to acknowledge this or not, Elstree Calling is part of his cinema career.

BLACKMAIL

UK, 1929, 85 minutes, Black-and-white.

Anny Ondra, John Longden, Donald Calthrop, Cyril Ritchard, Sarah Allgood, Charles Paton, Phyllis Konstam, voice of: Joan Barry.

Directed by Alfred Hitchcock.

Alfred Hitchcock had made quite an impression in British cinema during the 1920s, quite a number of films, many still available on You Tube. This was his last silent film, his first talkie film, the final product a combination of both?

The film is based on a play by Charles Bennett, opened out by Hitchcock. Czech actress Anny Ondra is the first of the Hitchcock blondes, quite a tradition throughout his films. She was a celebrated Czech actress but her accent was too difficult for talkies and she was dubbed by Joan Barry. She went on to have a significant career in German films (and marrying the world boxer, Max Schmelling).

John Langdon is the police inspector, much of his performance non-verbal, the silent style with close-ups, expressions and body language. Which is also the case with Anny Ondra many times. The villain is Donald Calthrop, a con man, a blackmailer, realising that Anny Ondra has gone into the flat of a seductive artist, played by Cyril Ritchard, an attempt to blackmail her.

She is bewildered, killing the artist in self defence, ultimately wanting to confess.

There are complications in the reputation of the blackmailer, and his pursuit through the London streets and a taxi and then his arrival at the British Museum, the columns, the various rooms of the exhibits, eventually on the glass roof, pursued, and falling to his death through the glass. (And Hitchcock later relying on tall buildings and monuments for drama, the Statue of Liberty, the Albert Hall…).

Blackmail features quite strongly, many sequences and quite some analysis in Mark Cousins’ documentary My Name is Alfred Hitchcock indicating Hitchcock’s cinema artistic sensibilities as well as his themes..

1. Alfred Hitchcock in the 1920s, development of his techniques, storyboarding, fixed camera, swirling swivelling camera, close-ups, editing, pace?
2. The last silent film for Hitchcock, first use of sound? The combination?
3. The black-and-white photography, the atmosphere of London, the streets, vehicles, New Scotland Yard, the shop, the flat, modern atmosphere for the 1920s, costumes, decor? Background musical score?
4. Introduction, Frank, the police, the information, the vehicle, coming to the block of flats, entry, the criminal smoking and reading in bed, reaching for the gun, the struggle, getting dressed, taken to New Scotland Yard, the interrogations? His attitude? The witnesses, the lineup, his being identified? Establishing Frank and the work of the police?
5. Frank, his relationship with Alice, going to the restaurant, difficulties in finding a place, her note, the arrival of the artist, her being whimsical, Frank leaving, waiting outside the door, seeing Alice with the artist?
6. The artist, suave manner, walking Alice home, talk, his apartment, inviting her out, her initial resistance? Her going in, going upstairs, his mail, the landlady, the note, the frequent visitor and his demanding money? Alice upstairs, the drink, seeing the dress, her being urged to change, reluctance, changing, the camera focusing on her, the artist playing the piano, the lyrics of the modern girl? His artwork, her trying her painting, the signature, later brushing it over? The seduction, his attack, forcing Alice, Hitchcock simply showing the curtain, movement, reaching for the knife, no movement, her reaction, bewilderment, delaying, getting dressed, carefully leaving, in the street, going home, upstairs, into bed, her mother with the breakfast, coming down for the day?
7. The indication of Tracy, outside, watching? And the glimpses of the policeman patrolling the streets?
8. Frank, the investigation, his finding Alice’s club, her previously losing it at the restaurant? In his pocket, observed by Tracy, Frank going to the shop, trying to get the truth from Alice, giving her the glove? Their being interrupted?
9. Tracy, arriving, smug, smile, casually leaning on the counter, demanding the cigar, that Frank pay for it, wanting food, Alice asking her mother, her mother’s hostile reaction? Tracy smoking the cigar, Alice’s father and his response?
10. The blackmail, Tracy and his smooth talk, the breakfast, in the armchair, Frank giving him money?
11. The phone call, the police discussing the identity of the writer of the note, the description, his being wanted, the police coming for his arrest? Frank, off the phone, smug in his response?
12. Alice, the aftermath, writing the note to Frank, wanting to confess, going to get new Scotland Yard, friendly with the officer at the door, going into the Inspector’s office, Frank present, about to confess, the phone call, the Inspector leaving?
13. The encounter with Tracy, his flight, the taxi to the British Museum, the elaborate finale, on the roof, his crashing through the glass?
14. Alice, willing to confess, saved, her relationship with Frank?