Alfred Hitchcock (1899–1980)

Siamo alla vigilia della Seconda guerra mondiale. In una fabbrica di esplosivi del Nevada avviene un’esplosione che costa la vita ad un operaio. Dello scoppio, frutto di un atto di sabotaggio, viene incolpato un altro operaio che fa perdere le sue tracce. L’uomo, braccato dalla polizia, trova ospitalità presso l’abitazione di un musicista. Patrizia, la nipote, credendo di trovarsi di fronte al ricercato, vorrebbe denunciarlo. Dopo essersi convinta della sua innocenza, si offre di aiutarlo a scoprire i veri responsabili del sabotaggio. (fonte: retro del dvd)… (mer)

“But your wife, she'll wonder what happened to her poor little General.” — Peter Lorre to John Gielgud

This most enjoyable film made in Britain before Hitchcock came to Hollywood certainly deserves more accolades than it has gotten over the years. It really isn't that far behind 39 Steps, The Lady Vanishes, and Young and Innocent in either quality or entertainment. Set during the first world war, Somerset Maugham’s novel of spies sent to ferret out and eliminate another spy has romance and humor, and some real excitement in Hitchcock’s hands.

John Gielgud comes home from the war and discovers he’s been reported dead. He discovers it was intentional; his cover so he can become Ashenden, and eliminate a very dangerous spy causing the good guys a lot of trouble. While it’s deadly serious business, it gets a bit more pleasant when he discovers in Switzerland that the beautiful and elegant Elsa Carrington (Madeleine Carroll) is to pose as his wife and help him in his mission.

Hitchcock counters the more serious business with a likable Robert Young as Marvin, pursuing romance with Elsa despite her marital status. It is handled with great charm and a sense of fun. Ashenden’s other partner is General, played in an over-the-top manner by Peter Lorre. He is more comical than sinister, spending most of his time trying to romance anything in a dress, and quite upset that Ashenden has the fake wife while he has none.

Elsa falls for her pretend husband, of course, and the General’s actions brings about a crisis of conscience occurs for both she and Ashenden. But when Ashenden and General discover who the real spy is, and must pursue him because of the great danger someone is in. The train station scene and everything that follows is classic Hitchcock. While it doesn’t have quite the tension of 39 Steps, or the sheer charm of Young and Innocent, it has a blend of the two which is very enjoyable.

Perhaps because it is set during WW I it doesn't connect as much as it should for some viewers. It is quite fabulous in its own way, however, and fans of Hitchcock’s early British films will certainly find it appealing. Fans of the lovely Madeleine Carroll will be pleased to discover she is much more in the center of things from the very beginning than in 39 Steps. A real winner.… (mer)

Joan Fontaine was wonderful in this sensitive film about a shy woman who unexpectedly finds love and allows her insecurities to fuel her imagination with suspicion. She easily won the Academy Award for her performance following her fine turn the prior year in Rebecca, for which she sadly did not. Based on a novel by Francis Iles, Hitchcock’s second film starring Fontaine is more about love and the fear of losing it than suspense, but still has enough of his little touches to make it enjoyable as both.

Joan Fontaine is the shy but wealthy Lina. Though her head is often buried in books, her heart still beats, and when she is shown a little attention by irresponsible charmer Johnnie Aysgarth (Cary Grant), who calls her monkey-face, she begins to fall in love. When she overhears her family talking about her, the viewer feels her pain. Fontaine is wonderful here — and all throughout this film classic — using subtle movements and expressions to convey the terrible hurt within her heart; and the doubts when the romance and adventure both she and those who know her thought she’d never experience appear to be in the offing. Fontaine is marvelous as she pines for the popular Johnnie to come calling again, until finally a cablegram salvages her pride in front of her skeptical family.

Grant is excellent as the off-beat and fun Johnnie. When Lina finds the courage to tell Johnnie she loves him, he realizes he feels the same and on a rainy night they dash off to get married. Lina begins to see Johnnie in a different light however, after they have tied the knot, when his pal Beaky (Nigel Bruce) comes calling. So used are we at seeing Bruce with Rathbone in Sherlock Homes it takes some getting used to at first to accept him as Johnnie’s pal. Once we do however he puts on a good show as the affable Beaky.

Johnnie’s gambling and irresponsible ways are off-set by his charm, and at first Lina’s faith in him is usually restored at the last moment. But too many things begin to add up, and not in Johnnie’s favor. Debts, theft, a death mirroring events in a mystery book, and a woman’s insecurities are blended to create mounting tension by Hitchcock as the film progresses; until finally, a truly terrible possibility comes into play.

Fontaine is simply enchanting in a tender and subtle performance and Cary Grant gives Johnnie just the right mix of charm and danger. The beautiful romantic score from Franz Waxman was Oscar-nominated. Heather Angel has a nice part as the maid Ethel, and Auriol Lee lends fine support as the mystery-writer friend of Lina. Sherlock Holmes’ Watson, Nigel Bruce, really shines as Johnnie’s likable pal, Beaky, giving a splendid performance. Though Hitchcock’s ending, which differs from the original source, has been disparaged by many fans and critics alike, the sensitive and romantic tone of the film almost demands the ending we get, and that’s all I can say. A very fine romantic film with an underscore of suspense, Suspicion is worth watching for Fontaine’s performance alone.… (mer)

Lovely Teresa Wright shines in Alfred Hitchcock’s tale of darkness and evil coming to stay in Santa Rosa, California. A story by Gordon McDonnell was adapted for the screen by Thorton Wilder, Alma Reville, and Sally Benson, and this slice of Americana is played out perfectly by a wonderful cast.

Teresa Wright is the bored young daughter of Emma (Patricia Collinge) and Joseph (Henry Travers) Newton. Life for her in the small town of Santa Rosa has become boring for the wholesome American girl looking to stretch her wings. Wright’s “Charlie” is the very picture of small town innocence. When her Uncle and namesake (Joseph Cotten) blows into town, it is the catalyst for the change she desires. Hitchcock has already shown the audience by this time that something is not quite right about the charming Uncle Charlie, so the viewer already knows from the get-go what’s going on in this film. The special bond between Charlie and her uncle and their unusual connection is fully explored by the director in the happy and charming early moments that follow Cotten's arrival in Santa Rosa.

Hitchcock quickly begins shading this portrait in grey, however. Charlie’s adoration of her uncle borders on a crush, leaving her open and vulnerable to anything Charlie wants. Here the famous director creates some almost uncomfortable scenes, giving the viewer the impression that at any moment Cotton might just take the smiling and adoring Charlie in his arms and kiss her. And for her part, Charlie might remain passive, so unsure is she of her own feelings. But strange behavior in her uncle and the attention of a government agent after him who falls in love with young Charlie will change everything, as Uncle Charlie’s spell is broken when his warped and twisted view of the world is finally revealed. The tune he whistles might be the key to his long absence.

Hume Cronyn steals every scene he is in as Herbie. Long talks on the porch, attempting to devise the perfect murder plan for amusement is ironic and darkly humorous considering the real evil right under their noses. Charlie can’t risk destroying her weak mother, but luckily she has Agent Jack Graham’s (Macdonald Carey) number. Uncle Charlie, however, has no intention of going to the gallows…

This is both a beautiful portrait of small-town America and a suspenseful thriller. Cotten, always solid yet often underrated, underplays his role to marvelous effect. Teresa Wright is simply wonderful in this Hitchcock masterpiece, the very picture of confused innocence. A film that must be seen by all, especially Hitchcock devotees.… (mer)