Alfred Hitchcock featurette (Video and CD
reviews):-
Video Review:-
A Talk With Alfred
Hitchcock
CBC (Canada) Image ID9486CZ
Black and White [52 mins]
Amazon USA
DVD
VIDEO
I picked this video up in Tower Records on my way through Seattle after
vacationing in Canada. It was announced as a new video release. The interview
with Hitch dates back to 1964 (hence black and white). It was a two-part
television programme broadcast by CBC in their Telescope series (sponsored
by General Motors) roughly equivalent to BBC's contemporary Monitor
series.
The interview is fascinating. For me, its most interesting facet is what
is omitted - any mention of Vertigo. In 1964, that film had
not quite achieved the cult status which it enjoys today. Interestingly,
the interviewer, Fletcher Markle, says, "Most critics today agree that your
finest film to date is Shadow of a Doubt, would you agree with
that estimation?" "Unquestionably", agrees Hitch.
Hitchcock explains his philosophy of montage - putting an idea across in
a series of "little assemblies" like a mosaic and shows how he achieved the
Psycho shower murder scene by assembling no less than 78 pieces
of little film over 45 seconds to convey its horror: shots of feet, head,
hands, shadows on the shower curtain, water going down the plug-hole, and
the shower curtain being pulled from its hooks as Janet Leigh's lifeless
body slumps to the floor etc. He then contrasts this mosaic with another
for the murder of the detective, using a different technique of sharply
contrasted angled shots head-on and from high up.
Of music for his films, Hitch says, "I have no control over the music the
composers do as they like, I can't judge its effect from hearing a piano
(reduction)." Bernard Herrmann is also interviewed. He states that Hitch
was adamant about having no music behind he Psycho murders but Bernie
insisted and when Hitch reluctantly heard those famous stabbing chords with
the film as opposed to silence he immediately relented.
Another fascinating section relates to the story limitations imposed by the
use of certain actors. In Suspicion, it will be recalled, Cary
Grant was suspected by his young wife, Joan Fontaine, of plotting to kill
her. Now the producers, concerned for Grant's career and not wanting him
to appear in unsympathetic roles, insisted that there be a happy ending with
Grant proven to be just a loveable rogue (the wild car ride at the end where
Fontaine is convinced he is planing to kill her by pushing her out when he
actually pulls her back in). Hitch wanted to have an ending where Grant poisons
her with that glass of milk. Fontaine would have realised his intention but
resigned herself to death rather than continue life without his love. However
she has written a letter to her mother, which she asks Grant to post as he
hands her the milk. The letter reveals all so that no other woman need share
her fate. The film would have ended, after her death, with Grant cheerfully
posting that letter.
Special effects for The Birds is discussed and special mention
made of Marnie which was in production at the time of the
interview. A must for all Hitchcock fans.
Reviewer
Ian Lace
