Quint's Reviews and Ruminations on Film

Well thank you.

And hey, there's another for the "movies as magic" post... The Wizard of Oz, what a trip that was for a wide-eyed kid - every year we'd catch it on TV, and every year those Flying Monkeys gave me the willies.

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Completed Extant Filmographies: Luis Buñuel, Federico Fellini, Satyajit Ray, Fritz Lang, Andrei Tarkovsky, Buster Keaton, Yasujirō Ozu - (for favorite directors who have passed or retired, 10 minimum)

Attempting to come up with a list of my 25 favorites from the master of suspense proved a daunting task - as even his lesser efforts reveal something to praise: Under Capricorn, for example, is pretty dry, but it has that phenomenal tracking shot. Mrs. And Mrs. Smith, while uneven, offers up several scenes with the funniest screwball comedy you’ll ever find. But after much deliberation I came up with a list I could live with.

So let the carnage begin...

Beware: There are some SPOILERS in the notes

Screenshots courtesy of 1000 Frames of Hitchcock

Hitch hits his stride with this effort. I don’t think it packs the emotional wallop of the remake, Stewart really sells the desperation in that version - plus the scene here, where fearsome baddies engage in a chair fight with the protagonist was just plain goofy – but this is overall well made, fast and funny and Peter Lorre is a great villain. Nova Pilbeam plays the kidnapped little girl. She will later show up as a young adult for Young and Innocent.

Memorable scenes: Leslie Banks and the Dentist.

Memorable Quote: Abbott: You know, to a man with a heart as soft as mine, there's nothing sweeter than a touching scene.
Bob Lawrence: Such as?
Abbott: Such as a father saying goodbye to his child. Yeah, goodbye for the last time. What could be more touching than that?

Hitchcock Cameo: 26 minutes into the film. He can be seen crossing the street in a black trench coat just before Lawrence and his pal enter the Chapel.

Your images in the last two posts aren't working for me.

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Odd, I can see them. I'll upload them again. Continuing on with the countdown



A funny, charming mystery. It's about a murder set within the acting community. What part of the tale is truth, and what is performance? That's all part of fun --- One problem with this flick is that Hitchcock did nothing but complain about it. He didn’t like his actors, he didn’t like parts of the story – and if the Master says it's so, who is to argue? Subsequently Stage Fright is automatically panned before it's given half a chance.

I think Hitch was too critical of his work. For one, I like the acting. I think Alistair Sim (who Hitch didn’t want for the part) steals every scene he’s in. The interaction between he and his wife are hilarious. I’m also a big fan of Jane Wyman (she and Hitch didn’t get along and often fought through the production). Wyman usually did drama, but she's a kick here, wide-eyed and plucky as she tries to unearth evidence that’ll prove her friend's innocence.

This is not one of Hitchcock's suspense filled juggernauts. It's a featherweight who-dun-it, which often had me laughing out loud. I liked the characters, and I liked the twist ending. Which Hitch felt broke some rule about flashbacks never telling a lie. Bosch! That lie is part of the films fun - that you can't be sure if any of these actors are telling you the truth. Besides, Kurosawa filmed a classic entirely based on ambiguous flashbacks (Rashomon).

Memorable scenes: The boy with the bloody baby doll.

Memorable Quote: “He was an abominable man. Why do women marry abominable men?” - Charlotte

Hitchcock Cameo: 39 minutes into the film, he’s the gentleman who looks back at Jane Wyman as he passes her on the street

Of note: This marked Hitch’s return to his homeland, as the film was produced in, and featured mostly British actors

Hitchcock's most commercial film - Bright, colorful Vista Vision filmed on the beautiful French coast. Thief was a light, fun, breezy romantic caper which starred Hitch's quintessential leading man, Cary Grant and his favorite cool blond, Grace Kelly --- All the classic Hitchcockian elements are present: The humor, suspense, the "mother" and a man who might or might not be innocent.

Grace Kelly was never more beautiful or engaging in a film, IMO. Her smile is simply captivating. And Grant, well hell, he's always aces. But let's not forget John Williams, Jessie Royce Landis or Brigitte Auber, all of whom added much to the film. This might not be Hitches most serious work. But a tasty piece of candy is nice every once in a while.

Memorable Scenes: The grand finale on the roof – The seduction scene in the hotel, with fireworks exploding in the background

Memorable Quote: H. Hughson: "The pastries are light as air." - John Robie: "Germaine has very sensitive hands and an exceedingly light touch. She strangled a German general - without a sound."

Hitchcock Cameo: 10 minutes into the film, he’s sitting on the bus next to Cary - Cary turns to look at him.

Of note: This won a Best Cinematography Oscar for Robert Burks (It was also nominated but lost for costume design and art direction)

And to restate - this countdown will be spoilery, written for folks familiar with the pictures.


Hitchcock relished a challenge. While he revisited and tried to perfect certain story and character themes, he was always looking for a new way to tell the story, to break a rule and experiment. The challenges he faced in making "Rope" were significant. He limits the entire movie to a single set and aimed to shoot it as if it were a play. No cuts or edits, almost live action. The problem was that a reel of film only had about 10 minutes on it. In addition, color cameras at the time were gigantic and difficult to maneuver (Hitchcock had the walls mounted on rollers to move them when the camera needed to pass through), and this project marked his first foray into color filmmaking.

The story is based on the real-life Leopold and Loeb case, delves into subject matter plumbed by Dostoevsky in "Crime and Punishment", involves the idea of the superior "Superman" and though not overt, puts homosexual characters in its lead.

Jimmy Stewart is always great, but I'm not sure about the casting. Cary Grant might have been a better choice, but he said no. James Mason would have fit the role to a T.

The original story had it as a kind of triangle, between the boys and the teacher. Stewart doesn't pull that off but instead comes off as a prying detective type. In the end he’s outraged that these students would pervert his ideas - I think he should have played it as someone trying to cover up, make excuses but always realizing, deep down, that he helped create this monster.

John Dall shines as the smooth-spoken killer. The character and his motivations are fascinating.

Despite a few issues, Rope is overall a success, an amazing feat of directorial experimentation with social implications and insights that work the mind as well.

Memorable Scenes: The way Shaw puts away the rope as the kitchen door swings, and later uses it to tie up a stack of books for the murdered boy's father - The maid cleans off the trunk which holds the body

Memorable Quote: "The power to kill could be just as satisfying as the power to create." - John Dall as Brandon Shaw

Hitchcock Cameo: Two: In the opening credits, as a man crossing the street and at 52 minutes, Hitchcock's trademark silhouette caricatured profile (promoting Reduco) can be spotted briefly on a flashing neon sign seen through the apartment window.

Of Note: In the book, Hitchcock/Truffaut, Alfred stated that he ended up re-shooting the last four or five segments because he was dissatisfied with the color of the sunset.

Y&I is from Hitchcock's British era and was one of his personal favorites. It's a lot like the 39 Steps but without the spy angle. It's a little more innocent, lighter and featured top notched performances from its major players. Nova Pilbeam is especially good. She kind of reminds me of Kate Hepburn - physically she's thin and has a personality that's sassy. She carries herself with confidence.

Pilbeam might have been a major star if producer Selzncik had his way. He wanted her for Rebecca; he felt she was perfect for the role. But Hitch wanted to change the original story a bit and felt she wouldn't be right for the film. And she might very well have been too strong a personality.

I follow a couple of Letterboxers who gave this 2.5-stars, one even suggested it wasn't worth seeking out... I need to stop following these people, lol. EVERY Hitchcock picture is worth seeking out if you're a film buff, or a film nut - even a lesser film, even a lighter tale, as this is, offers some treat, a visual, an adventure - cute playful scenes linked to dark murderous ones... there's usually something to delight in*, and Y&I has several somethings.

Memorable scenes: The camera pans in close to the drummers twitching eyes. This kind of 'tracking shot' will become a part of Hitch's signature directorial style.

Memorable Quote: "I can't ask them all if they twitches" - Old Will

Hitchcock Cameo: 15 minutes into the film, he’s standing outside the courthouse, holding a camera.




* Oh, okay, maybe not Juno and the Paycock (1930), you got me on that one, that's one of the most stiff and artless films of his career.

Is there a new Jack the Ripper on the prowl, that's the premise in this game changing feature. While Novello's acting is a shade overdone, the film established the tone for the director’s future films. Hitch considered it, "the first picture influenced by my period in Germany. In truth, you might almost say The Lodger was my first picture." Writer Mark Duguid made note of the German influences - "…stylized, angular sets, high contrast light and shadow to convey disturbed psychological states", all of these were to become staples of Hitch's art.

Alfred also felt that because of his work with the silents, he learned to provide narrative information through visual terms, which he transferred into his talkies and became an identifiable strength in his storytelling.

Memorable scenes: The use of a glass ceiling to show the Lodger pacing on the floor above the family was inventive. The ending has the handcuffed man running from a mob and getting his cuffs caught on a fence. He hangs helpless as revenge minded folk crowd around him... this tension filled moment is pure Hitchcock.

Hitchcock Cameo: About 3 minutes in - Sitting at a newsroom desk with his back to the camera.

Of Note: The Lodger was nearly shelved, fortunately it was released and was a critical and financial success.

Finally saw The Lodger a year or two ago and was really pleased with it. Really made me appreciate Hitchcock in a deeper way.

Sweet, a personal Top 25 countdown of Hitch's Movies. I'm intersted in seeing how this progresses.I reviewed The Lodger here at MoFo and rated it as highly as you did. I believe Hitch was right and he learned how to story tell visually early one. I wrote this sometime ago:

Hitch had wanted to remake his 1934 hit as early as 1941 and while there are many who embrace the original as the best version, I have to side with the master. The original has many nice touches, but it is the work of a “talented amateur” (these were Hitchcock’s words, not mine). The remake is bigger, at times too big and too long. But it is a better film. The flow of the story is steadier; there are fewer gaps in the suspense. For example; the original had the baddies spell out their plan in the church at the point where the action should have been charging like a freight train - this exposition ground the film to a halt and Hitch doesn’t make that mistake in his remake.

I also felt the acting was better, more real and heartfelt. The British crew is fine, but they feel too rehearsed and lack that gritty humanity that Day and Stewart bring. The later really had me feeling their loss and suffering. Stewart was an every-man, and his quiet desperation drew me into the story. I could relate to him as a flesh and blood character, he wasn’t just a guy playing a part.

I like how Hitch took time to develop his characters. TMWKTM lets us know and understand the people in this story and continues to develop character even as he's diving into the heart of the plot.

Memorable Scene: Dying man falls into Ben (James Stewart), the makeup on his face comes off on Stewart's fingers

Memorable Quote: "You have muddled everything from the start, taking that child with you from Marrakech. Don't you realize that Americans dislike having their children stolen?" – Ambassador

Hitchcock Cameo: 25:42 into the film - watching acrobats in the Moroccan marketplace, with his back to the camera, just before the spy is killed.

Of Note: This won the Oscar for Best Music, Original Song - "Whatever Will Be, Will Be (Que Sera, Sera)" by Jay Livingston and Ray Evans

Another reminder that these write-ups are NOT spoiler free. Proceed with caution


Hitch returns home: This is very British and exceptionally brutal. One of the director's darkest. That's not to say that he doesn't employ that famous black humor (much of it involving food), but that the film as a whole, moves away from expressionism. There are few process shots, and numerous outdoor locations. There is also a disturbing rape and strangulation scene (that, frankly, runs excessively long) - and as a whole, Alfred is delving more into realism with this picture.

He also shows that the old dog never stopped trying new tricks. Yes, he treads on familiar ground (The innocent man on the run) but this fact doesn't keep the movie from feeling fresh and inventive.

The second murder is ingenious. In that we don't see it happen. The camera pulls back, and life goes on. But our memory is stained by that earlier murder. The horror of it comes back to us and our imaginations fill in what we don't see.

Before that, there's the moment where the victim steps out from a bar and Hitch leaves us completely without sound. No music, no crowd noise - nothing until the voice of the killer pops in from out of the blue.

Frenzy is one of Hitchcock's best, but it is at times, one of his most difficult to watch.

Memorable Scenes: Killer pops up silently behind barmaid, he takes her to his room and the camera pulls away, leaving the murder to our imagination - Killer attempts to retrieve evidence from a body hidden in a potato sack.

Memorable Quote: "I don't know if you know it Babs, but you're my type of woman." - Barry Foster as Bob Rusk Also, this movie features one of the great final lines, when Chief Inspector Oxford says, "Mr. Rusk, you're not wearing your tie"

Hitchcock Cameo: 3 minutes into the film, among the crowd, wearing a bowler hat.

Of Note: Michael Caine was Hitchcock's first choice for the role of Rusk, the main antagonist, but Caine thought the character was disgusting and said, "I don't want to be associated with the part".

I've always had the feeling quite a few more of Hitch's films would've been as explicit as Frenzy were he allowed to do as he wished without censorship restrictions throughout his career. I'm not really a fan of his, but Frenzy is one of my favourites. Probably third after Psycho (which I feel this is a 'more adult' cousin of. I think Psycho would've been a lot more like this had he been able to) and Shadow Of A Doubt, which is just a great film.

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5-time MoFo Award winner.

It's possible, though I think having restrictions forced him to be more creative. I get a sense that the first murder was him getting that out of his system, "finally, I can shoot this kind of scene without Breen and the Hays code telling me no", then after, it was, "all right, now let's get back to doing what I do best - and that's not using the camera only as a blunt instrument." Because with the other killing, the act isn't shown at all.

Also, I'd say the strangulation scene in Strangers on a Train is the more interesting of the two, where he was forced to pull back a bit and not show every agonizing detail.

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Hitchcock to me was like the Beatles, for motion pictures, an equal mix of populist entertainment and art - you can enjoy him as fun escapism, but you can also go a bit deeper and enjoy the qualities that are more sophisticated. Hitch was also like an artist who paints the same scene or subject over and over, just to see what he can make of it, how can he progress, and explore different angles, with different colors, brush strokes, etc. If Saboteur is too all over the place, he'll come back at it with North by Northwest, still sweeping and expansive, but disciplined.... he's honed his skills, improved it, and yes, with advancements in effects, or fewer restrictions from the censors, take it further.

On that secondary level, then, it's not really about like or dislike, it's about appreciating what an exceptional talent can do with these cinematic tools. Where even a lesser film has something to offer, something to marvel over.

In addition to expansive chase sequences, Hitch was also fascinated with exploring stories confined to limited or single sets. A few years after Dial M came out, Hitch would film the perfect example of this style with Rear Window. But Dial M is pretty damn good as well.

It's amazing that it succeeds. The first half hour is basically exposition, with people sitting around a room explaining everything that went before and what's going to happen during the rest of the movie. Only a mad man or a genius would think this could possibly work.

And yet it does, brilliantly - and it never fails to maintain a high level of audience interest and suspense. The acting by Ray Milland is superb and Grace Kelly, Hitches favorite leading lady, is convincing as well.

Revival houses sometimes will show this in 3 D, the only movie Hitch filmed using this technique.

Memorable Scenes: The murder attempt, the scissors! (the screenshot sequence up top, we circle around to the killer's perspective, then the edit and reveal of what/whose been stalking our heroine)

Memorable Quote: "They talk about flat-footed policemen. May the saints protect us from the gifted amateur." - John Williams as Chief Inspector Hubbard

Hitchcock Cameo: 13 minutes in he can be seen in the reunion photo, sitting at a banquet table.

Probably my favorite Hitchcock film here.

Such style: Hitch's wartime mystery is full of adventure, humor, romance, and moments of darkness. I like the dense plot, memorable set pieces, and the colorful performances/characters. Well, aside from Day's whiny vocal delivery - other than that, Joel Mcrea's always had a diverting onscreen presence, and I’ve long been an admirer of George Sanders, he’s a kick as ffolliott (2 fs, no caps - the exchange about his name is one of the pictures funniest). This was his second Hitch flick of the year.

Though it’s a film that has fallen through the cracks, is often overshadowed by Rebecca, and has been criticized as being dated (okay, sure the American Anthem playing at the end was corny). The espionage and many twists make it one of Alfred’s most entertaining features. Plus, it just looks good... the windmills on a barren stretch of road, with that plane circling above, has such an otherworldly quality - I'm always drawn to that scene.

Memorable Scenes: The umbrellas, the windmill, and an inventive plane crash that had to be timed perfectly. That’s real water going through film projected on rice paper.

Memorable Quote: "I would gladly relieve the young lady of this embarrassment, but you know how women are with firearms, they have no sense of timing. Now look, I'll just sit here and you carry on with whatever you were doing. Don't mind me, I sometimes sit like this for hours." - Scott ffolliott

Hitchcock Cameo: When Haverstock spots Van Meer for the first time, Hitch is seen walking past him while reading a newspaper.

Of Note: This was one of two Alfred Hitchcock films nominated for the Academy Award for Best Picture in 1941, the other being Rebecca, which went on to win the Oscar.

Nimble wit and quick pacing are the highlights of this adventure, which caps off a string of directorial triumphs in Hitch's British era. (The Man Who Knew Too Much, 39 Steps, Sabotage, Secret Agent, Young and Innocent). Hitch uses a different tactic here and keeps his audience in the dark.

Actress Margaret Lockwood is beautiful and has great rapport with her co-stars, Michael Redgrave as her eccentric ally and love interest, and Miss Froy, played by Dame May Whitty.

The story is one that will be revisited in a variety of ways over the years, even in his TV series (Into Thin Air) and Jody Foster’s “Flight Plan”

Memorable Scenes: Iris spots Miss Froys name written on the window - The Dr. attempts to get Gilbert and Iris to consume a spiked drink - the fight among the magician’s equipment.

Memorable Quote: "I'm about as popular as a dose of strychnine." - Michael Redgrave as Gilbert

Hitchcock Cameo: Near the end we see Alfred, wearing a black coat and smoking a cig at Victoria Station

Of Note: The New York Times named this their "Best Picture of 1938"

The two-a-days forge ahead with a picture that kicks off a series of underappreciated gems in the countdown. While many of these films have their advocates—I'm certainly not the only one who adores them—I think, in general, I grade and rank them higher than the average.


Lifeboat held the potential to be static. It's story of people stranded on a tiny boat (which includes a German who torpedoed their ship) wouldn't seem to lend itself to any of Hitches usual flourishes. And yet, he pulls it off and holds our interest from beginning to end.

Contemporary audiences sometimes dismiss this tale as propaganda, while a few critics from the 40s believed Hitchcock's depiction of the Nazi as a superior figure undermined the war effort. John Steinbeck, the story's author, had his name removed from the film due to changes made to the characters. So much push-back! Hitchcock's aim was to use his characters as archetypes; Walter Slezak symbolizes Nazi Germany, while the others on the boat represent various nations that were deceived or allowed themselves to be deceived into believing that the Nazi party was something helpful and trustworthy. It took me a few viewings before I could get into synch with what Alfred was doing here, but once the penny dropped, it shifted from a good picture, into a great one.

However a viewer reads the characters, Lifeboat is arguably one of his more unique works, a piercing study of human nature, that maintains the edgy suspense he's known for. It also puts his keen sense of space and composition and movement to the test, a test he does not fail. The performances from his talented ensemble are outstanding, particularly Tallulah Bankhead, who delivers the bite and sparks you'd expect from her, but the entire cast run the gamut of human emotion quite effectively.

Memorable Scenes: Connie in furs, casually smoking a cig in the lifeboat, her apathy comes to full bloom when another survivor swims up to join her and all she does is pull out a camera to film his struggles.

Memorable Quote: “Dying together's even more personal than living together.” - Connie

Hitchcock Cameo: 24 minutes into the film you can spot Alfred in a weight loss add for “Reduco” on the newspaper Gus is reading (Alfred would revisit this gag in "Rope")

Of Note: Hitchcock pre-planned the camera angles for the film using a miniature lifeboat and figurines