“The Paradine Case” (1947)
One of the most contentious productions Hitch ever faced, it’s understandable why “The Paradine Case” is found outside the canon. Hitchcock’s final film under contract with David O. Selznick, it was rewritten (Selznick has a script credit, along with the great Ben Hecht) and recut ad nauseum, and only surviving in truncated form (the original negative was destroyed in a flood in 1980), it’s an undeniably half-formed picture. Furthermore, it feels half-hearted too, as Hitchcock wanted Greta Garbo and Laurence Olivier for the two leads (the foreign beauty accused of poisoning her blind husband, and her barrister, who falls in love with her). Instead, he ended up with Italian actress Alida Valli (“The Third Man“) and Gregory Peck. No slouches, either of them, but this is another of those films where the director can often feel like he’s going through the motions; formally, certainly, there’s not a lot to really raise the pulse, the director reverting to the somewhat stagey form of some of his early 1930s work (in fact, Hitchcock was experimenting with shooting with up to four cameras simultaneously, but one never really feels the effect). That said, there are some real gems to be found in the supporting cast — the great Charles Laughton as the Judge, Ethel Barrymore as his wife, and the ludicrously handsome real-life resistance hero Louis Jourdan (the future star of “Gigi“) as the servant who may or may not have been involved in the killing. And even if he wasn’t Hitchcock’s first choice, Peck impresses by the time the gut-punch conclusion rolls around. It’s a mess, certainly (one can only wonder if the much, much longer director’s cut would salvage thing, but you suspect not), but not necessarily the absolute disaster that history’s sometimes made it out to be. [C-]
Hitchcock Cameo: 38 minutes in, taking a cello off the train (continuing the theme from “Spellbound”).
“Rope” (1948)
Based on Patrick Hamilton’s play, Hitchcock’s first Technicolor offering indeed feels like a stage adaptation, with its limited location and small set of players. But what most people remember about “Rope” is the central gimmick of the film: Hitchcock wanted to create the appearance of the movie being shot in a single take. This would be a feat now, but what made it particularly challenging then was the physical limitation of film itself, which only allowed for 10 minutes of shooting at a time. The transitions to cover this (such as zooming in on the darkness of an actor’s jacket) feel gimmicky, but it’s fun to see the auteur challenge himself technically. As for the actual story, Brandon (John Dall) and Phillip (Farley Granger) decide to commit the perfect murder of their schoolmate David Kentley (Dick Hogan) merely because they can, and then the pair hosts a dinner party with David’s relatives and friends as guests who unknowingly dine inches away from their beloved’s body. Complicating matters is the appearance of Brandon and Phillip’s former teacher, Rupert (James Stewart), whose philosophical teachings inspired his students’ crime. The relationship between Brandon and Phillip is part of the intrigue; to modern audiences, it’s clear that they’re romantically involved, but to satisfy the Production Code standards, the script from Arthur Laurents (based on a treatment from actor and Hitchcock favorite Hume Cronyn) skirts what they called “it,” even if it walks pretty close to the line of revealing the pair’s sexuality at times. Even if you aren’t diving too deeply into either the production of the film or its subtext, there’s plenty to enjoy if you simply sit back and relax. Despite the dark subject matter (even for a Hitchcock film), there’s plenty of black humor as well as some levity in the form of the victim’s delightfully batty aunt (Constance Collier). Hitchcock also earns his “Master of Suspense” title here, bringing the audience to the edge of their seats as Brandon and John inch ever closer to being discovered, either through Phillip’s emotional unraveling, Rupert’s sleuthing or their maid’s simple, thorough cleaning. [B+]
Hitchcock Cameo: Another challenge, given the limited setting, but he finds his way in; the view from the apartment sees another ad for ‘Reduco,’ with the director’s now-trademark silhouette.
“Under Capricorn” (1949)
Adored by the top bananas at Cahiers du cinéma but few others around the time of its release, this historical drama had such a strenuous life that it was repossessed by its financiers due to its failure at the box office, resurfacing more than a decade later on American television. Unjustly overlooked and underappreciated, “Under Capricorn” incorporates the long, unbroken takes he had employed in “Rope,” here accentuating the quiet tension brewing from a love triangle between Irish gentleman Charles Adare (Michael Wilding), wealthy ex-con Samson Flusky (Joseph Cotten), and his alcoholic wife Lady Henrietta (Ingrid Bergman). The two men meet and grow closer after initiating a shady business deal, soon discovering that Henrietta had actually been an old chum of Adare’s sister back in the day. He takes it upon himself to ween her off the bottle, eventually falling in love with her. Within the screenplay are occasional twists and typically masterful Hitchockian suspense moments, but most of the time is spent on the quietly budding romance between Adare and Henrietta and the understated rivalry between the two male leads. The past weighs heavily on the Flusky family, and it’s only amplified by the patient, observant cinematography that intensifies every moment. It also probably contains the most heartbreaking scenes the filmmaker’s ever done, including a moment in which Flusky shamefully tucks away a surprise necklace for his wife after being the third wheel while greeting her and Adare before a social gathering. Though it deserves more recognition, it’s not without its flaws: sometimes the sets feel too small and artificial (the Expressionism he generally implements feels clunky here), and occasionally the score is heavy-handed. Still, the film has a look and feel quite unlike any other entry in his filmography (it’s shot by Powell & Pressburger regular Jack Cardiff), and cogent emotional resonance. [B+]
Hitchcock Cameo: The only film confirmed to have two cameos from the directors: four minutes in, he’s wearing a blue coat during the parade, then ten minutes later, he’s one of a group of three men on the steps of the town hall.
“Stage Fright” (1950)
Dietrich. Hitchcock. What a collaboration. This criminally overlooked film is one of Hitchcock’s lesser known efforts but is nonetheless just as visceral, vital and nail-bitingly thrilling as any of his other works. Perhaps because he returned to England to shoot the film with a predominantly English cast (with the notable exceptions of Dietrich and co-star Jane Wyman), it didn’t get its proper credit in the U.S at the time. The story is an illustration of what Hitchcock does so well in his twist-filled storytelling: he plays with subjectivity and perspective in order to keep the audience in the dark until the very last minute. He deftly uses a flashback at the beginning of the film to effectively skew the audience understanding of the events, mimicking the experience of the film’s protagonist, Eve, played by Jane Wyman. Eve is an aspiring actress drawn into a murder mystery cover up involving diva Charlotte Inwood, as played by an absolutely stunning Marlene Dietrich (those cheekbones could cut glass). The twists and turns of the story are relentless, as Eve disguises herself as one of Charlotte’s new maids in order to uncover the truth, and must switch back and forth in her personas in order to maintain the ruse. Wyman and Dietrich are perfect foils (and were rumored to be foils off camera too), and as compelling as Dietrich is in the role of the glamorous actress covering up the truth, they are simply pawns in Hitchcock’s storytelling web. “Stage Fright” is an underrated classic that is worth your attention. [A-]
Hitchcock Cameo: Just before the 40-minute mark, spotting Jane Wyman in her maid disguise.
