“If you want a thing done well, do it yourself.”
“If you want a thing done well, do it yourself.”
Of all the films made by Alfred Hitchcock, the one that most closely aligns with the feel of Hollywood’s Golden Era is Notorious. The action of the characters and the look and feel of the scenes adheres to the conventions and formulas of that period’s filmmaking. And I mean this in a positive sense. The production values are excellent. The actors are the finest. The dialog and plot are very well done. A good case can be made that this is the best movie made in Hitchcock’s long and successful career as a filmmaker. The movie takes place in 1946. World War II had just ended and Nazis were still topical. Ingrid Bergman’s character, Alicia Huberman, is the daughter of a German spy recently convicted of espionage in the United States. She is a loyal American and agrees to help the U.S. government in the person of T. R. “Dev” Devlin played in his typically winning way by Cary Grant. Naturally they fall in love but the problem is the government wants Alicia to become romantically entangled with a German industrialist living in Rio de Janeiro named Alex Sebastian (played by the inimitable Claude Rains in his remarkably idiosyncratic way). She is supposed to find out what dastardly plots these escaped Nazis are planning. This of course leads to jealousy and spite in Devlin and pain and anger in Alicia. When circumstances force her to marry Sebastian to maintain the espionage this further poisons the relationship between our two star crossed lovers (are there any other kind?). The plot has twists and turns and uranium salts (which got Hitchcock in trouble with the real US Government) but throughout we root for the love story and hiss at the bad guys (in this case Nazis and the US Secret Service). The remarkable thing in this movie is that although Claude Rains is the evil Nazi you kind of sympathize with his character at certain turns. He is the unfortunate man in a house with two women, his new wife and his domineering mother. And he is haunted by the ubiquitous Cary Grant popping up everywhere and presumably a rival for his wife’s affections. Who wouldn’t want an atom bomb available under those difficult circumstances?
Hitchcock’s cinematic work began well before Hollywood’s Golden Era and in England. He continued to create popular and original thrillers well into the 1960s, long after the studio system had disappeared. Thus, Hitchcock is not defined by or limited to the Golden Era sensibilities. But Notorious without a doubt possesses the “classic” look of that era and definitely deserves its reputation as a masterpiece. Anyone interested in Hitchcock or the movies of the ‘30s and ‘40s should consider viewing this film.
Now put all that aside. Notorious is a great story. Hitchcock provides all kinds of suspense and intrigue. Everyone on both sides is hiding something from everyone, including themselves. So much deception even starts to trip up the deceivers and eventually it all starts to crumble. The ending is a collapse all around and a fitting finale. I highly recommend this movie and hope you’ll enjoy the performances not only by the three main characters but also from all those bit part Nazis doing their best to be wonderfully evil.
Now the ZMan is a well known libertarian basher but his podcast was actually very measured and extremely thoughtful. He touched on a number of issues and made a lot of sense.
“The first method for estimating the intelligence of a ruler is to look at the men he has around him.”
Rear Window is not Hitchcock’s best film. There are any number of things to complain about. But it’s my favorite summer Hitchcock film. It’s possible to actually feel the heat and humidity even if you’re watching it in New England February. But watching it in July or August just after the sun goes down on a sweltering humid day is absolutely perfect. The mid-century middle-class New York City apartment with all the adjoining backyards spread out in front of the panoramic rear windows of the protagonist Jimmy Stewart who sits in a wheelchair with his leg in a cast provides the correct claustrophobic and uncomfortably hot environment for an irritable murderer and the amateur sleuth stalking him. Sweat drips off the actors and overheated residents try to beat the heat by sleeping on fire escapes or drinking cold drinks. Even the torrential rain doesn’t “cool things off it just makes the heat wet.”
The set-up is Jimmy Stewart as L.B. ‘Jeff’ Jefferies, a famous magazine photographer who is convalescing with a broken leg that he earned by stepping in front of a racing car crash to get a great photo. Thelma Ritter is Stella, the nurse sent by his insurance company to watch over him. Grace Kelly is Jeff’s upper class, Upper East Side girlfriend Lisa Fremont who wants Jeff to settle down to a sedentary existence with her. Jeff also has an old Air Force buddy, Police Detective Lt. Thomas J. Doyle (played by Wendell Corey) who comes in really handy once murder is suspected. And finally there is the murder suspect and neighbor across the yard, Lars Thorwald played with a minimum of spoken lines by Raymond Burr.
The movie resembles a stage play with well-defined scenes and breaks. Each character is added to the mix in sequence and even the various parading neighbors are introduced and given their little scenes and acknowledgements. There’s the newlywed couple, the married couple with the little dog who sleep on the fire escape, the dancer “Miss Torso,” “Miss Lonely Hearts,” the composer, and the slightly crazy old sculptress. We even briefly meet Mrs. Thorwald early on in the show, but that doesn’t last. She’s the alleged victim.
The two plot elements that get twisted into a knot are Lisa attempting to solve the riddle of tying down Jeff and Jeff trying to prove that Thorwald killed his wife. In both of these endeavors Stella acts as a helper and Doyle seems to be a hindrance. Whenever the amateurs try to coax the real detective to bust in on Thorwald and gather up the evidence that they are sure must be “knee deep,” he reminds them of a silly house rule known as “due process” and of the New York State penal code in all eleven volumes that a judge would throw at him if he attempted to get a search warrant based on Jeff’s suspicions and Lisa’ feminine intuition.
I won’t spoil the story because it’s worth watching but I’ll just comment that the story moves along in a pleasant fantasy of mid-century New York City life filled with urban stereotypes and tropes even while the main characters perform the Hitchcock detective pantomime. It’s a lot of fun. And the actors are a pleasure to watch and listen to. I always especially enjoy Thelma Ritter’s quintessential working-class New York City accent and attitude.
Now for the down side. Biggest problem with the movie is trying to pretend that Jimmy Stewart and Grace Kelly are close in age. At one point, Jimmy Stewart takes off his shirt for an alcohol rubdown from his nurse and destroys any illusion that he is a young man, whereas Grace Kelly was a remarkably beautiful twenty-five-year-old at that time. I guess if they’d owned up to it in the story it wouldn’t be so jarring but at one point, Stella actually calls him a young man and that just explodes the suspension of disbelief for me with a snide snort. The other story element that jars for me is the subplot with Miss Lonely Hearts. I won’t go into the details but the whole subplot is a little too affected for my taste. And finally, there’s a song that becomes kind of the background theme for the romance aspect of the film and is finally played over the end of the last scene. I think it’s terrible. It’s so saccharine sweet that it almost turns my stomach when it plays us out. But those are the only faults. And they don’t amount to much compared to the fun that this movie provides.
See Rear Window the first time on a hot summer night. That should be like some kind of multi-sense version of surround sound. Highly recommended.
“I firmly believe that any man’s finest hour, the greatest fulfillment of all that he holds dear, is that moment when he has worked his heart out in a good cause and lies exhausted on the field of battle – victorious.”
I’ve been catching up with the Gunn firing story. Vox Day has several links, posts and a podcast about it. http://voxday.blogspot.com/2018/07/darkstream-saint-chan-takes-on-hollywood.html
Aside from any consideration of tactical or strategic importance the ironic nature of Gunn’s position is worth considering. The messages where he revels in Roseanne Barr’s firing are extremely comical in retrospect https://www.thegatewaypundit.com/2018/07/ben-shapiro-loses-debate-defending-disgraced-perverted-disney-director-james-gunn/
But I guess what everyone wants to know is whether this is a one off or is it part of a larger campaign. Disney has always been something of a special case. Their link to children through their legacy and current products is so important to the company that any hint of pedophilia has to be handled by extreme measures. But now that a precedent has been set it’s possible that it could affect Fox too. After all, Disney is currently negotiating to buy Fox’s entertainment business. This includes the X-Men and Deadpool franchises from Marvel. Based on the vibe from these movies I wouldn’t be at all surprised to find out that several of the “creative types” behind these films have skeletons in their closets. In order to satisfy Disney’s squeaky-clean image Fox might have to unload anyone who even approaches James Gunn’s level of unwholesomeness. Is this the case? Who knows? But it’s certain that the folks working with Cernovich have archived a lot of tweets and are prepared to use them to embarrass and possibly un-employ people on the left. Timing is probably being used strategically. The next Guardians of the Galaxy movie was beginning production. Forcing them to switch directors now would be least difficult and therefore least detrimental to Disney’s bottom line. Possibly future attacks will be timed to coincide with business decisions by the other studios. We’ll have to wait to find out. But it is encouraging when the Left’s own tactics are used by the Right and used effectively. The New Right is not the new Stupid Party.