Tag: Alfred Hitchcock

A Window into Death

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This morning when I woke up the house was noticeably cooler than it’s been in a month.  It was sixty degrees or thereabouts.  So, Fall is making its entrance felt.  Lots of leaves under the maple tree and the grass is drying out.  The raspberry canes are still producing tons of berries but the lower leaves are all turning yellow.  Well, the kids go back to school on Monday and so this is the end of summer by decree and by degree.  So be it.

Well, it was a terrific summer weatherwise and we did most of the things we wanted to.  And we had a big party at the end.  So now it’s time to anticipate the good stuff that comes with Fall.  Well?  I guess the only thing about Fall that’s good is the long evenings allow us to watch old movies and plan for the holidays.  Certainly, there’s more to do than that.  Fall is when you’re supposed to do the repairs and weatherproofing that prevents winter from doing a lot of damage.  And I do plan to do that stuff.  But let’s be honest here.  I hate that stuff.  I’ve been talking about getting some tarps to cover over the woodwork on the balconies and the outside staircase for about ten years and I haven’t gotten any closer to doing it yet.  I’m just an immensely lazy man whose strong suit is dithering, waffling, vacillating and procrastination.  Of course I blame Camera Girl.  If she were half as good at nagging as she is at cooking, I’d be a model husband.  But it’s the cross I bear.

So, a couple of nights ago TCM had “Psycho” on and Camera Girl was watching it.  Well, I was busy but I noted her choice in passing.  And while I was working in the dining room, I could hear snatches of music and dialog.  And I could tell it was getting toward Marion Crane’s (Janet Leigh’s) fateful arrival at the Bates Motel.  So, I dropped what I was doing and sat through Marion’s supper with Norman and all the way through her murder and subsequent deposition in the “swamp.”  By the way, how much of Southern California actually has any swampland?

Now I’ve seen Psycho dozens of times.  And the murder scene has always struck me as well done.  It’s well staged and well shot.  And having seen it so many times allowed me to watch it this time analytically.  And I thought that the critical snatch of film is when Marion is luxuriating in the shower and the camera shifts to the room through the shower curtain and you see the door open and a silhouette appear in the doorway.

That is the moment when death has entered the frame.  The actual killing with the blood and piercing, screaming “music” is almost an anticlimax.

And then I watched Marion Crane die from loss of blood.  And it was remarkably well acted and achingly sad.  Here was a young woman whose impatience to be with the man she loved had driven her to steal an enormous amount of money.  But just as she’s figured out what she needs to do to escape from the trap she’s gotten herself into, fate steps in and feeds her into a buzz saw of insanity.

The rest of the movie is a murder mystery and a psychological horror show.  But the end of the murder scene is a tiny window into an intensely poignant moment; the death of a human being and specifically the death of a beautiful young woman.  Janet Leigh’s face conveys the reality that Marion Crane’s brain is shutting down from lack of blood and her world has shrunk down to just trying to grasp the shower curtain with her hand.  And then she dies and her body lies crumpled on the floor and her unfocussed eye stares into space.  That’s the best acting in the movie.

So, despite the spectacle from then on, the interesting part of the movie is the first forty minutes that record Marion Crane’s date with destiny.  And I’ll include her conversation with Norman.  He does communicate his pathetic version of what he thinks the world is about.  And in some sense, he provides a sounding board to allow her to think about what to do about her own private trap.

Well, anyway, it’s Fall and old movies are the thing to do.

Stage Fright (1950) – A Movie Review

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Stage Fright is an Alfred Hitchcock suspense movie.

(Spoiler Alert – Skip down to last paragraph to avoid spoilers and read recommendation)

Jane Wyman is Eve Gill an acting student who is in love with Jonathan Cooper.  Unfortunately, Jonathan is in love with Charlotte Inwood (played by Marlene Dietrich) who unfortunately is married to a man she doesn’t love.  One day Jonathan comes to Eve and asks her for her help.  He tells her that Charlotte came to his apartment in a dress covered in blood and told him that her husband started beating her and in self-defense she killed him with a fireplace poker.  She asked Jonathan to go back to the scene of the crime to get her a clean dress.  But while he was there the maid saw him and called the police.

Jonathan asks Eve to help him hide from the police until he can figure out how to escape from the trap, he has found himself in.  Eve enlists the help of her father “Commodore Gill (played by Alistair Sim) who owns a boat that Jonathan hides on.  Meanwhile Eve goes to Charlotte’s home to see what the police are up to.  While snooping around she meets police detective Wilfred Smith (Michael Wilding) who happens to be working on the case and she proceeds to fall in love with him.  She also manages to insinuate herself into Charlotte’s household by impersonating a relative of Charlotte’s maid and theatrical dresser.  In this role she discovers that Charlotte has no intention of disrupting her life but instead expects Jonathan to flee the country permanently.,

Meanwhile Jonathan sneaks into the theater where Charlotte is playing and confronts her.  She explains that she will not be joining him in permanent exile and he reacts by saying he has the bloody dress and he might give it to the police if he has to.

Finally, Eve and her father arrange for the police to eavesdrop on Charlotte being confronted about the bloody dress in a fake blackmail conversation with Eve.  But in the conversation Charlotte states that even though there is blood on her dress Jonathan murdered her husband in front of her.  Meanwhile Inspector Smith has captured Jonathan at Eve’s home and he has been brought to the theater for questioning.  He breaks loose and Eve helps him hide in the theater basement with her.  While this is going on Smith reveals to Eve’s father that Jonathan is actually a dangerous maniac who has killed before.

While hiding with Eve, Jonathan confesses to Eve that he did indeed murder Charlotte’s husband more or less at her instigation.  He also admits that he previously killed another man, but was cleared based on self-defense grounds.  And then he hinted that he would be executed for this new murder unless he was thought completely insane.  And the only way he could think of convincing a jury of that would be if he killed another person for no reason at all.  Now Eve sensed her personal danger and she tells Jonathan that they must escape the building before the police got down into the basement.  And as he walked through a door ahead of her, she locked it behind him and screamed to the police to capture Jonathan.  Jonathan was now on the stage and trying to escape so the police dropped the heavy fire curtain (actually a heavy metal sheet) to trap him but just as he reached the edge of the stage he tripped and the steel curtain crushed and killed him.

Great Caesar’s ghost, I’m exhausted just reciting that plot.  And I left several subplots and characters out.  There’s Charlotte’s manager that she’s having an affair with and Charlotte’s mother who is estranged from her father and Eve’s friends, one of whom is played by Hitchcock’s daughter, and on and on.  It’s a bit much.  Plus, Dietrich sings several songs and that maybe okay for her French song but the one in English wasn’t so good.  Without a doubt this movie is very odd.  I enjoyed it, maybe because of its oddity, but I tend to doubt most people are like me.  Let’s say this is for Hitchcock fans who like the theatrical.

2024 Summer Movie Talk – Part 5

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Suspense – Alfred Hitchcock

I’m faking a lot of thinking here with this category.  Alfred Hitchcock usually can be considered as a creator of crime or specifically murder stories.  But sometimes it’s a spy story or something really crazy like birds turning against humanity.  So, suspense is probably as good a label as anything else.

For most of his career Hitchcock produced very high-quality product.  At his peak he could get the best actors and lavish budgets to make his films.  But even on a shoestring like with Psycho he could produce a memorable movie.  At the very end he did produce some awful stuff.  I assume he was beginning to fail due to old age.

I’ve reviewed most of these movies separately if you want my detailed opinion on them.  But here’s a list of what I liked in Hitchcock’s output.  I still haven’t seen all his films but there are enough to form more than a good list of his best stuff.

  1. The Man Who Knew Too Much (1934)
  2. The 39 Steps (1935)
  3. The Lady Vanishes (1938)
  4. Suspicion (1941)
  5. Shadow of a Doubt (1943)
  6. Lifeboat (1944)
  7. Spellbound (1945)
  8. Notorious (1946)
  9. Rope (1948)
  10. Strangers on a Train (1951)
  11. Dial M for Murder (1953)
  12. Rear Window (1954)
  13. To Catch a Thief (1955)
  14. The Man Who Knew Too Much (1956)
  15. North by Northwest (1959)
  16. Psycho (1960)
  17. The Birds (1963)

If I left out one of your favorites or if you detest one of my listed films, feel free to speak up and make your Hitchcockian opinions known in the comments below.  People are usually very decided in their feelings about his films, one way or the other.  For instance, film aficionados consider “Vertigo” Hitchcock’s greatest masterpiece and a seminal work of cinematic importance.  But being a philistine, I despise it.  So, I left it out.

The Films of Alfred Hitchcock – Part 14 – Saboteur (1942) – An OCF Classic Movie Review

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Saboteur is one of Hitchcock’s earlier Hollywood era productions.  It’s the story of Barry Kane, played by Robert Cummings, a wartime factory worker who is mistakenly accused of being a Nazi saboteur.  The story starts out at an airplane manufacturing plant where Barry and his friend Ken Mason are employed.  At lunch they bump into another employee named Frank Fry who acts very suspiciously.  Barry sees an envelope that Fry is sending to a man in another town and finds a large amount of money that Fry drops on the ground.  When he gives the money back to Fry, he becomes very angry.  Suddenly a large fire breaks out and Barry, Ken and Fry head toward it.  Fry gives Ken a fire extinguisher but when Ken directs it at the fire, he becomes engulfed by the inferno and dies.

During the investigation it turns out that there is no employee named Fry and Barry’s story about the whole event is doubted when it turns out the extinguisher was filled with gasoline.  He is blamed for the fire and is being hunted as a Nazi saboteur.  He runs away and hitches a ride with a truck driver heading for the town that Fry’s letter was addressed to.

When he reaches the address, the man living there, Charles Tobin, denies knowing anyone named Fry but Barry accidentally finds a telegram from Fry to Tobin.  Realizing that Tobin is one of the saboteurs and has called the police to arrest him, Barry flees but is quickly captured by the police.  Later he escapes from them by leaping off a bridge into a river.  Eventually he reaches the cabin of a blind man who suspects that he is a fugitive from the law because he can hear Barry’s handcuffs clinking against each other.  The blind man prefers to believe Barry is innocent and agrees to help him get out of his handcuffs.  But the man’s niece, Patricia “Pat” Martin, arrives and wants to turn him into the police because of the news reports branding him as a dangerous saboteur.

Now follows a confusing and slightly ridiculous chain of events that involves circus freaks and an eventual change of heart by Pat toward Barry.  Eventually Barry convinces part of the sabotage gang that he is working for Tobin and is driven to New York City where the next big action is planned.  Pat is captured and also ends up in New York.  The new target is a battleship that has been completed in the Brooklyn Navy Yard.  The saboteurs manage to sink it and capture both Barry and Pat.  But by a clever ruse she is able to signal the police and all the saboteurs except Fry are captured by the police.  Fry escapes to the Statue of Liberty and there is a climactic fight on the torch of the statue where Fry falls onto the torch arm and is hanging by his fingernails.  Barry manages to grab hold of Fry’s jacket sleeve and is waiting for the police to bring a rope to allow for a rescue.  But before they can arrive the sleeve rips free and Fry falls to his death.  Barry kisses Pat and the movie ends.

Well, you can’t say Hitchcock doesn’t throw everything including the kitchen sink into the plot.  Bearded women, Siamese twins, midgets, trusting blind men, a pretty girl who models for billboards, sunken battleships, the Statue of Liberty, the Hoover Dam, leaps off bridges, Rockefeller Center, Nazi spies, shoot outs in movie theaters, you name it.  And this movie is noticeably a Hollywood product.  There is all of the wartime patriotism there and the tropes that the studios had built up at this point.  The production values are high but the dialog and acting are a bit mediocre.

It’s a pretty good effort but hardly one of Hitchcock’s finest productions.  I’d called it recommended but not highly recommended.  Let’s say it is moderately entertaining but it wouldn’t be something I’d re-watch often.

The Films of Alfred Hitchcock – Part 13 – North by Northwest (1959) – A Movie Review

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North by Northwest is considered by many film critics to be the epitome of Hitchcock’s suspense movies.  It has several iconic scenes and involves several high-powered Hollywood stars being choreographed through a very intricate and confusing plot about spies and murder that has a love story embedded in the middle.  But I’ve always thought it was a bit much.  It’s almost a send-up of some of his earlier stuff.

The plot revolves around a New York advertising executive, Roger Thornhill, played by Cary Grant, being mistaken by a gang of Soviet spies for an American agent named George Kaplan who we find out later doesn’t actually exist.  Thornhill is kidnapped and brought to an estate on Long Island where he is given a choice; provide the Russian spies with information or be liquidated.  Thornhill adamantly maintains that he isn’t Kaplan and so they proceed with the murder.  They force Thornhill to drink a quart of bourbon and then put him behind the wheel of a car heading for a cliff.  But Thornhill manages to drunk-drive the car along a steep curving country road without crashing and eventually he is arrested by the local police.  After this there is a great deal of confusion as Thornhill attempts to find the men who attempted to kill him.  He next finds himself at the UN Building looking for the ringleader but instead he is somehow framed for the murder of a diplomat.

While trying to escape arrest by the NYPD, Thornhill next jumps aboard the 20th Century Limited, a luxury train that travels to Chicago where “Kaplan” has an appointment. On the train he meets Eve Kendall, played by Eva Marie Saint, and they begin a romance while she manages to hide him from the police.  But we are shown that secretly she is working with the Russian spies.  Eve pretends to get in touch with Kaplan for Thornhill and tells him to meet Kaplan at a rural Illinois bus stop that is surrounded by cornfields.  No one shows up until finally a crop-dusting biplane chases Thornhill and starts firing machine gun slugs at him.  Eventually the plane somehow crashes into a fuel tanker truck and Thornhill escapes back to Chicago in a stolen vehicle.

Now he confronts Eve with her spy friends at a fine arts auction.  He discovers that his nemesis is named Phillip Vandamm, played with his usual suave style by James Mason.  And he discovers that Vandamm is Eve’s lover.  In order to escape from Vandamm’s henchmen Thornhill comically heckles the auctioneers and is finally ejected by the police.  Thornhill tells the police that he is the wanted killer and they drive off to the local precinct.  But during the drive a radio call comes in and Thornhill is driven instead to the airport where a government agent called the “The Professor,” played by Leo G. Carroll takes custody of Thornhill and flies him to Sioux Falls, South Dakota.  The Professor explains that Eve is acting as a government agent to provide information on Vandamm’s espionage ring.  But Thornhill has endangered her cover by falling in love with her and making Vandamm suspicious of her loyalty.

Thornhill confronts Vandamm and Eve at the airport.  He tells Vandamm that he really is the American agent Kaplan and he will allow Vandamm to escape in exchange for taking Eve into custody to punish her for her duplicitous behavior toward him.  When Thornhill becomes physical with Eve, she pulls out a small hand gun from her purse and shoots him several times and then flees.

Later we see the Professor driving into the wooded countryside somewhere in South Dakota and we see that Thornhill is uninjured due to the blanks in Eve’s gun.  Eve drives to meet them at this rendezvous point and explains to Thornhill that she must now leave the country with Vandamm on his private plane to complete her mission.  When Thornhill attempts to prevent her due to his romantic feelings for her, the Professor’s law enforcement associate punches Thornhill in the face and knocks him out.  Late he escapes their custody and heads to Vandamm’s home near the summit of the Mount Rushmore monument to get Eve to abandon the plan.  Hiding outside of the home he overhears Vandamm and his henchman Leonard, played with great creepiness by Martin Landau, discussing Eve’s status.  Leonard fires Eve’s gun at Vandamm and thus proves it is loaded with blanks.  After an initial burst of anger at Leonard Vandamm agrees that he will have to dispose of Eve by throwing her from the plane into a lake.

Thornhill manages to rescue Eve right before she gets on the plane but they cannot escape the property except by climbing down the face of the monument with Vandamm and his henchmen in hot pursuit.  Eventually a sharpshooter’s bullet by the Professor’s rescue party saves Thornhill and Eve from being forced off the shear rock face by Leonard who instead falls to his death.  Now that Leonard is no longer crushing Thornhill’s handhold on the cliff he manages to finally pull Eve up from where she is dangling over the abyss.  Whereupon the scene changes to Thornhill pulling Eve up to the elevated bed in their railway suite on the 20th Century Limited getting ready to celebrate their honeymoon.

Okay, so this is Hitchcock at the point in his career where he has gone a little over the top.  Humor has become a major part of the feel of the movie.  I’ll give some examples.  When Cary Grant is driving down the steep curving road drunk, the scene is decidedly comical.  And later on, when he is trying to avoid his enemies in the auction hall his demeanor is what you would expect of Cary Grant in a comic role.  It’s supposed to be funny.  And near the end of the movie where he and Eve are running for their lives away from the spies, when she asks him why his two earlier wives divorced him he deadpans that they thought his life was too boring.  This is sort of a comic movie.  And that’s not all that different from other movies from this period like Rear Window where comedy is added in.  But the improbability of some of the scenes like the crop-duster chasing him through the cornfields and the escape down the faces of the Mt. Rushmore monument makes the movie a little bit like a fantasy.

But it is entertaining.  Personally, I don’t watch this movie very often.  I have to be in the right mood.  I’d prefer to see Cary Grant in Notorious.  It’s a very similar plot but it’s played straight and has a very different feel.  But preferences differ and some people probably feel oppositely.  It’s still definitely one of Hitchcock’s better films, just not one of my favorites.  Still, highly recommended.

The Films of Alfred Hitchcock – Part 12 – The Wrong Man (1956) – A Movie Review

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This is sort of an oddball Hitchcock.  It’s based on a true story.  But being a Hitchcock film during his heyday, it is well worth discussing.

The “Wrong Man” is the true story of Christopher Emmanuel Balestrero a musician living in Queens, New York with his wife and two sons who in 1953 was accused of a series of armed robberies based on his close resemblance to the actual robber.  The movie walks you through Manny Balestrero’s life on the day of his arrest.  He’s coming home early in the morning from his job as a musician at the upscale night club, the Stork Club and after breakfast he discusses with his wife how to finance the dental work that she needs.  Because they live pay check to pay check he intends to get a loan on his wife’s life insurance policy.  But when he goes to the insurance office two of the women there think they recognize him as the man who robbed the office in the not-too-distant past.  After Manny leaves, their manager calls the police and gives them Manny’s name and address to have him arrested for the hold up.

The police call up Manny’s home and surreptitiously determine what time he is expected home.  Two plains cloth policemen, Lee and Matthews, are waiting outside his house in their car and intercept him before he gets inside.  They inform him there’s been a complaint against him and tell him to come with them to straighten it out.  The police have Manny walk through several local stores that were robbed by the same man and allow the store personnel to have a chance to identify him.  They then go back to the precinct where Manny is told to print up a note dictated to him to match the writing on a note that the actual robber handed the clerk at the insurance company.  When Officer Lee says that there is some resemblance to the printing in the note, he asks Manny to print it again.  This time Lee notes that a misspelling by Manny matches a misspelling in the original note.  This convinces the police officers that Manny is the actual armed robber.

Next, they have Manny in a lineup and the two insurance office clerks identify him as the robber.  Following this identification, he is formally charged with the crimes and remanded to the Queensborough lock up.  We see Manny being led to his cell and his tie taken away to prevent possible suicide.  And we are shown Manny desperate and confused as he awaits the next steps in his nightmare.

Meanwhile his family is frantically searching for Manny and assuming that he has met with an accident or some other misfortune.  Finally, much later the police leave a message at his home about his arrest and the arraignment in the morning.

At the arraignment Manny is told that his bail will be $6,500.  Lacking this large amount of money, he is remanded into custody and processed into the long-term jail.  He goes through all the usual indignities and is housed in a cell.  But very soon after his family manages to borrow the money and he is released on bail.

What follows is the process of Manny attempting to prove his innocence.  He hires a good lawyer and attempts to find witnesses to prove where he was on the day of the insurance company hold up.  Of the three possible witnesses two have died in the interim and one cannot be located.  At this point, Manny’s wife Rose suffers a nervous breakdown and goes into a clinical depression for which she is hospitalized.  The trial begins and the prosecutor paints Manny’s poverty in terms that make it reasonable that he would have been desperate enough to commit the robberies.  The witnesses are paraded into the court and dramatically identify Manny as the armed robber.  But during the summation, a juror irritably stands up and complains about the drawn-out nature of the testimony and causes a mistrial to be declared.

Manny has now reached the end of his rope.  His mother is staying over to watch the kids in his wife’s absence and in resignation he tells her that he wishes they would just convict him and end the agony.  She begs him to pray to God for strength and afterward we see him praying.  And then we see overlayed onto the scene of Manny praying, another face.  Another man, and the man’s face has a general similarity to Manny’s face.  Then we see the man enter a small grocery store and attempt to rob it.  He claims to have a gun in his pocket.  But the Mom-and-Pop owners of the store knock him down and subdue him.

The man is arrested and is in the precinct being processed for the robbery attempt.  Walking through the precinct and noticing the robber is Officer Matthews.  He walks out of the precinct but after a few moments he stops, looks puzzled and goes back into the precinct.

Now we see Manny at work at the Stork Club and his boss tells him they want him at the precinct.  Manny reaches the precinct and his lawyer is there and tells him the good news.  Now we hear the same two insurance clerks picking out the real robber in a line up.  When they walk out, they see Manny and embarrassedly hurry past him.  Officer Matthews smiles at Manny and pats his shoulder.  Then the robber walks by Manny and they both look at each other in surprise at their resemblance.  Manny accuses him saying, “Do you know what you’ve done to my wife?”  But the robber is just shuffled off to his fate.

In the final scene Manny visits his wife at the mental hospital where she is still deeply sunk into depression.  A post script says that two years later Rose is fully cured and the family has moved to Florida.

Hitchcock made a very good selection.  This story contains many of the components that a fictional account would include to provide human interest.  The innocent man caught in a circumstantial nightmare where his blameless life cannot protect him from a cruel twist of fate.  His accidental resemblance to a criminal and being in the wrong place at the wrong time almost destroy his life and that of his family.  Only another twist of fate saves him.

Hitchcock parades us through the police procedural but from the point of view of the innocent man trapped in the gears of a soulless large city’s law enforcement machine.  The dehumanization and callousness of the experience is mirrored in Henry Fonda’s haunted expression.  The harrowing details of his and Rose’s struggle is extremely effective in drawing out the audience’s sympathy.  Vera Miles as Rose and Anthony Quayle as their attorney Frank O’Connor are both very good.  But even Fonda isn’t the lead character.  The star of the show is terror, the terror of the wrongly accused.  The story reminds me of a Greek tragedy.  But in this case the sin is not hubris.  It’s living in New York City where no one knows their neighbors and no one is your neighbor.

The Films of Alfred Hitchcock – Part 10 – Shadow of a Doubt – A Classic Movie Review

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Hitchcock gives us a crime drama wrapped in a family reunion.  Charles Oakley, played by Joseph Cotten, is being investigated by the police in the northeast United States as one of two suspects in the “Merry Widow” murders.  Three wealthy widows were strangled by an acquaintance.  Charles sends a telegram to his married sister, Emma Newton in California saying he wants to come visit her and her family.  Emma is married to Joseph Newton and they live with their three children Charlotte (Charlie), Ann and Roger. Emma dotes on her baby brother and in her eyes, he can do no wrong.  Her husband Joseph (played by Henry Travers) works at the local bank and is a quiet man who, along with his neighbor Herbie Hawkins (played by Hume Cronyn) enjoys reading and discussing the murders committed in detective novels. Ann and Roger are small children who intersect with the main story only obliquely.  But Charlie is a high school graduate who feels stifled living in the small town of Santa Rosa.  She is named after her mother’s brother, the legendary Uncle Charlie.  And right before word of Uncle Charlie’s arrival reaches them, she has been bemoaning the boredom that is their life and has decided to send a telegram to Uncle Charlie and ask him to visit them.

When Charlie hears that her uncle is coming to stay with them, she is overjoyed.  She takes the coincidence of his plans and hers as fate and is sure that his presence will add excitement and life to her stultified family.  But strange things begin happening and Uncle Charlie’s presence becomes a strange mystery for Charlie to solve.  He surreptitiously rips a page out of the family’s copy of the newspaper and when she tells him that she knows he did it he reacts violently and wrenches the paper from her hand, hurting her in the process.  When the next day two men request and get permission from Mrs. Newton to interview and photograph the family as part of some national survey, Uncle Charlie berates her for her foolishness and tells her that he refuses to be interviewed or photographed.

The survey takers are actually police detectives Jack Graham and Fred Saunders attempting to get a photo of Uncle Charlie to allow witnesses to identify him.  Jack asks Charlie if she would show him around town as part of his survey and she agrees.  During their walk Jack reveals to Charlie what they are really doing and that if the identification is positive, they will arrest Uncle Charlie.  Charlie is in a panic.  She doesn’t know what to believe but all the strange behavior of her uncle leads her to believe that it could be true.  She runs to the library and finds the newspaper article her uncle was hiding.  It is a description of the Merry Widow murder case.  One of the women who was murdered turns out to have the same initials as the inscription in a ring that Uncle Charlie had recently given her.

She confronts him and tells Uncle Charlie that the police are getting ready to arrest him.  She reveals what she found out about the ring and throws it back at him.  Uncle Charlie begs her to let him escape and spare her mother the shock of knowing her brother is a murderer.  She agrees.  But before anything else can happen news comes that the other suspect in the murders was killed trying to escape capture.  Now the detectives are no longer after Uncle Charlie.  We also learn that Jack Graham is in love with Charlie and tells her that he will return to ask her to marry him.

Uncle Charlie decides that he will stay in Santa Rosa but now he comes to the conclusion that Charlie knows too much about him.  He plans to have her die by an apparent accident.  In the first event she almost breaks her neck when an outdoor stair step breaks off under her foot and she barely catches hold of the handrail.  Later on, she finds that the step had been sawn almost through.  Next, Uncle Charlie arranges for her to go into a garage where a running car motor had filled the building with exhaust fumes and the key was removed from the ignition so the engine could not be stopped.  And just as she tried to exit the garage the door slammed shut and was jammed tight so she couldn’t escape.  Luckily Herbie Hawkins happened by and heard her cries and allowed for her rescue by, of all people, Uncle Charlie.  He deftly kicked the shim from the jammed door and put the key in the ignition as he turned it off.  Then he carried the unconscious Charlie into the fresh air where she revived.

Now convinced that she had to get Uncle Charlie to leave she used her uncle’s absence at a party to find the ring in his room.  Seeing it on her finger Uncle Charlie announces that he would be leaving the next day for San Francisco.  But while seeing him off at the train Charlie is maneuvered by him onto the departing train and by sheer brute strength, he drags her over to an open door on the end of a train car and prepared to throw her off the train as soon as its speed is sufficient to kill her.  But at the last second Charlie wrenches herself free and in doing so causes Uncle Charlie to lose his balance and fall off the train directly onto the tracks of an oncoming train.

In the next scene Uncle Charlie’s funeral is going on in the church and Charlie is outside explaining to Jack Graham why she didn’t turn her uncle in to the police.  They both agree that they will keep Uncle Charlie’s secret away from the people of Santa Rosa.

Most critics think that Shadow of a Doubt is one of Hitchcock’s best works.  I tend to agree.  Allowing Charles Oakley to give his feelings about society in general and about his victims at the family dinner table and during a fraught conversation with his niece at a seedy dive bar hits the right notes in this strange juxtaposition of normal family life and antisocial psychosis.  The tension between Charlie’s desire to spare her mother and even in a sense her uncle from the consequences of his crimes and her horror at what he actually was see-saws the movie right to the end.  There are many nice touches from the supporting cast.  I especially enjoy Hume Cronyn and Henry Travers arguing over the advantages and disadvantages of poisoned mushrooms over blunt force trauma as a murder weapon.  It shows that Hitchcock had already embraced his reputation for graveyard humor and didn’t mind letting the audience in on the joke.

And it was fun to see Joseph Cotton as a psychotic killer.  Cotton always seems to show up as the honest, likable hero.  It must have been a relief for him to get to play a monster for once.  He was very good.

If you are a fan of Hitchcock and haven’t seen Shadow of a Doubt do yourself a favor and see it.  And even if you’ve never seen a Hitchcock film, I can highly recommend this one.

The Films of Alfred Hitchcock – Part 11 – The Lady Vanishes (1938) – An OCF Classic Movie Review

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This was Alfred Hitchcock’s last movie filmed in England before leaving for Hollywood.  The plot involves a train somewhere in central Europe with some British citizens on their way back home.  An old English lady named Miss Froy is involved in some kind of espionage.  She befriends a young woman named Iris Henderson who is going home to marry a rich man she doesn’t love.  When Miss Froy disappears from the train and all the other passengers and crew swear she was never there Iris recruits Gilbert Redman to help her solve the mystery.  There are comic touches that involve a pair of friends named Caldicott and Charters who are obsessed with reaching England in time to watch the National Cricket match.  In fact, the comic bit they did in this film was so popular that the actors, Naunton Wayne and Basil Radford respectively, reprised their characters in a number of films for many years afterward.

Hitchcock builds up the characters with plenty of background and personal details in scenes that take place before the train ride and once the young couple begin delving into the mystery it is obvious that a criminal conspiracy is taking place to kidnap Miss Froy, although no apparent reason exists.  On the train is a noted brain surgeon and he tries to convince Iris that a serious blow to the head that she sustained just before getting on the train is the source of her delusion about the missing Miss Froy.  Later on, we find out that he is the ringleader of the plot.

Finally, Miss Froy is freed and she reveals to Iris and Gilbert that she is a British spy and she must flee the train and go cross country to return to England.  But first she teaches Gilbert a musical phrase that is code for some top-secret information.  The adventure comes to a climax in a gun battle between the storm trooper and the English passengers as they attempt to take control of the train and flee over a border to a non-hostile country.  After several casualties they escape and return to safety.  When they reach England, Iris decides to forsake her rich loveless bridegroom and go off with Gilbert.  But first they head for the British foreign office to give them the musical code message.  But just as they reach the office Gilbert realizes he has forgotten the music.  But then hears the tune being played on a piano in the room they are about to enter and they see Miss Froy playing the tune.

This all sounds like a ridiculous jumble and in a way it is.  There are all kinds of odd things going on as there always are in a Hitchcock film.  A homicidal magician complete with a booth for making women disappear.  A mysterious burn victim with bandages that cover her face who is brought on the train well after Miss Froy disappeared.  There’s a deaf-mute nun in high heels.  A platoon of storm troopers that I guess are supposed to be German.  An avalanche, a murdered singer, clog dancers, a comedic Italian innkeeper who promises things he can’t deliver in four or five languages and scantily clad women.

But it’s actually highly entertaining.  All the little details of the story are well done and diverting.  The various characters are given enough development and even the villains are well rounded characters.  I thoroughly enjoy this movie and highly recommend it.

The Films of Alfred Hitchcock – Part 9 – Rope – A Classic Movie Review

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This is a very strange film, even for Hitchcock.  It’s an adaptation of a stage play that Hitchcock turns into a claustrophobic one set crime drama.  Brandon Shaw and Phillip Morgan (played by John Dall and Farley Granger) are upper class New Yorkers living together in an East Side apartment with a panoramic view of the city.  They are the products of a prep school and Ivy League education and are convinced that they are Nietzschean supermen who thereby have the right to murder ordinary men with impunity.  As the movie opens, they are seen strangling one of their school chums David Kentley with a piece of rope in their apartment.  After hiding the body in an antique wooden chest, they go about setting up their apartment for a dinner party that will feature David’s father (played by Sir Cedric Hardwicke) and aunt and David’s fiancée Janet.  The other cast in the play and party attendees are Mrs. Wilson who is Brandon’s housekeeper, Kenneth Lawrence who is another school friend and also a former boyfriend of Janet’s and Rupert Cadell (played by Jimmy Stewart) who was Brandon and Phillip’s prep school housemaster and the inspiration for their Nietzschean philosophical justification for murder.

Brandon brazenly uses the chest that David’s body is hidden in as the buffet table for the dinner that the guests feed on during the party.  Brandon makes several sly allusions to Kenneth that maybe Janet may be available again for his romantic interest.  All the guests are acutely aware that David is unexpectedly late for the party and unaccounted for.  Phillip from the start of the movie is extremely nervous about the prospect of being caught.  And as the party proceeds, he becomes more and more agitated and begins drinking heavily.  In the middle of the proceedings Brandon steers the conversation to his Nietzschean theory of the superman and his right to kill with impunity.  When Rupert agrees with this logic at least theoretically Brandon gets heatedly enthusiastic about its validity and this elicits a response from Mr. Kentley to the effect that he is offended by the disrespect for human decency and morality.  This snaps Brandon back into a more normal mode and alerts Rupert that something very strange is going on at the party.  Rupert starts to put together the various threads of the scene.  He recognizes that Brandon is trying to bring Janet and Kenneth together romantically in David’s absence.  He recognizes the anxiety in David’s friends and family at his very unusual disappearance and he keys in on Phillip’s anxiety, anger and drunkenness as the way to pry into what was going on below the surface of the gathering.

Rupert corners Phillip as he is playing the piano to cross-examine him about David’s absence, Brandon’s strange behavior and Phillip’s own anxiety.  And as the climax of his investigation he witnesses Phillip’s panic when he sees that Brandon has used the murder weapon, the piece of rope to tie up some old books that Brandon is giving as a gift to Mr Kentley as the old man is leaving to go home to his panicked wife.  Right before everyone leaves, Rupert has a talk with Mrs. Wilson, who is an old friend of his.  She tells Rupert about the fact that her employer told her to take the afternoon off and then decided at the last minute to serve the dinner off of the chest instead of the dining room table.  As Mrs. Wilson is cleaning up and about to open the chest to put some books back into it, Brandon hurriedly stops her from opening it and tells her to hold off her cleaning until the next day.  And finally, as Rupert is leaving, he takes the wrong hat from the closet and looking into it he sees a monogram DK (David Kentley).

Once the guests and Mrs. Wilson have left Brandon and Phillip have an argument.  Brandon upbraids Phillip for getting drunk and about his fear over being caught.  Phillip angrily blames Brandon for risking discovery by throwing out hints that Rupert was able pick up on.  Suddenly the phone rings and Phillip panics when he finds it’s Rupert returning to find his cigarette case.  Brandon tells Phillip to get ahold of himself and before Rupert arrives Brandon puts a revolver in his jacket pocket.  When Rupert comes in, we find out he hasn’t misplaced his case but instead hides it behind some books on the chest and “discovers” it.  He takes the excuse of a drink to continue his questioning of Brandon and Phillip.  He shows pretty quickly that he thinks they are responsible for David’s disappearance and reasons how they could have knocked out David and hidden him.  When Rupert confronts Brandon with the fact that he has a gun in his jacket, Brandon laughs it off as just the protection he will be taking with him to his house in the country.  Brandon throws the gun on the piano and Rupert continues his cross-examination and suddenly takes the piece of rope out of his pocket.  Phillip screams out that Rupert knows everything and grabs the pistol.  Rupert and Phillip fight over the gun.  The gun goes off and grazes Rupert’s hand but he gets control of it and takes control of Brandon and Phillip.  He opens up the chest and finds David’s body.  Brandon tries to justify the murder by virtue of their mutually acknowledged Nietzschean philosophy.  Rupert rejects Brandon’s justification and reviles as a monster whose inhumanity would ensure that he and Phillip would both be executed by the law.  Rupert goes over to the window and opens it.  He fires three rounds into the air and all three wait for the police to arrive.  Rupert moves a chair next to the chest and places his arm and the gun on it as if to protect David from his killers.

As I stated at the beginning, this is a very strange movie.  The only character that I found altogether admirable is Mr. Kentley.  He represents normal human feelings and ordinary sensibilities.  The worst characters are of course Brandon and Phillip.  But only slightly less objectionable is Rupert.  His elitist attitude toward his supposed superior intelligence is contemptible.  The rest of the characters are shallow characters with various foibles and ticks.  During the argument over Nietzschean superiority only Mr. Kentley displays the strength of character and humanity to revolt at the cruel indifference displayed by Brandon, Phillip and Rupert.

With respect to the success of the movie as entertainment I’ll have to say I can only watch this movie every few years.  It’s a fictionalized account of the Leopold and Loeb “thrill killing” from the 1920s.  From that point of view, it holds interest as an almost sociological and psychological statement.  It’s depressing, annoying and as noted above claustrophobic.  One of the more annoying aspects of the film is the tune that Phillip plays almost endlessly on the piano.  I grew to really hate that tune rather quickly.  Another annoying aspect of the movie is the homosexuality of Brandon and Phillip.  It’s never mentioned, of course because this movie was made in 1948.  But the dialog between them makes it clear that they don’t have a normal friendship.  And their personalities, especially Brandon’s are extremely unpleasant in a catty womanish way.  It’s not fun to see.  I would have to say I would only recommend this movie for a fan of Hitchcock who is interested in his technical skill.  The way the scenes are melded together at the film cuts is interesting but the story as I’ve described is a mess.

Psycho – An OCF Classic Movie Review

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Re-Posted from October 2017 in honor of Halloween.  Boo!

In honor of Halloween I’ve gone through the Universal Classic Monster Movies.  Moving along let’s look at the first modern horror movie.  And let’s start by defining what a modern horror movie is.  Well, what it isn’t is Frankenstein or Dracula or any make-believe monster.  In fact, it isn’t even a more contemporary monster like a zombie in “Night of the Living Dead.”  The generation that had lived through World War II and the Korean War and was living under the threat of nuclear annihilation probably couldn’t pretend to be afraid of rubber-masked monsters.  What they could fear was the monster that might be living behind the eyes of the boy next door.  Insanity was a monster that they knew had broken free before and once loose inflicted real horror on all in its path.  So that’s the modern horror movie monster, a homicidal maniac.  And before there was the Red Dragon, or Hannibal Lector or Saw there was Norman Bates.

Psycho was based on a novel by Robert Bloch, who wrote genre fiction in Horror, Science Fiction, Fantasy and Mystery categories.  It was inspired in part by a truly depraved serial killer named Ed Gein but the details of the story mostly came out of Bloch’s imagination.

But the reason Psycho is the subject of this review is that Alfred Hitchcock wanted to make that movie.  Always an innovator and aware of the need to push the boundaries of what was allowable on screen, he produced a film that fit its time.  The sexual nature of the relationship between Marion Crane and Sam Loomis is highlighted.  The murder scenes although tame by today’s standards are truly frightening.  For audiences of that time (1960) some of the scenes would have been shocking.

But Hitchcock didn’t make just a scream fest.  The movie is a complete story.  Each of the main characters and many of the smaller parts are skillfully crafted with loving detail and come to life on the screen.  And one character who has been dead for ten years and only survives inside the tortured brain of a madman gets several good lines including the closing soliloquy.

And here is one of the strangest twists of the movie.  The monster gets to tell his side of the story.  In the scene where Norman Bates brings Marion a meal, he tells his side of the story and even gives his mother’s side too.  Obviously, it’s couched in self-delusion and the confusion associated with a split personality but he describes his life as being in a self-inflicted trap that he no longer even tried to escape.  And he admitted that he depended on his mother as much as she depended on him.  And the portrait we see is personable, sympathetic and pitiable.  Of course, this just sets us up for what follows.

Norman’s sexual frustration is illustrated in the voyeurism we are shown and of course the maniacal rage is on display in each of the murders and the attempted murder.  When the psychiatrist comes on at the end as a deus-ex-machina, he not only explains the origins of Norman’s psychosis but also reveals that there have been additional women victims of “Norman’s mother.”

And finally, in the soliloquy that ends the dialog, we really get to meet the monster.  Mother tells us how sad it is that Norman must be punished and how innocent she is of all the blood.  But the dishonesty and the cruelty are on display and at the very last image of “her” we see the monster showing.  And the very last image we get is Marion’s car being winched out of the swamp (her coffin being exhumed from her grave).

What do I like about this movie?  Everything.  The actors are excellent.  The dialog is perfect.  Even the music and sound effects reinforce the action on the screen.  I don’t watch this movie often because I don’t want to wear it out.  But it’s the perfect adult horror movie.  The only thing that gives it competition is Silence of the Lambs.  I find it to be the perfect embodiment of the modern monster.  Man.