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Post by idioticbunny on May 22, 2018 23:49:15 GMT
It's not even in my top ten of his works that I've seen (then again I'm currently in the middle of marathoning every single film of his - that isn't lost that is), but it's still pretty great. It's another in a long line of Hitchcock's wrongfully accused themes, but as spiderwort stated, it has a strong message about war and politics. One of the few times where his MacGuffin had a deeper meaning beyond just a plot device. But yes, Herbert Marshall is great, but I agree on Edmund Gwenn who made quite an impression with very limited screen-time. And the special effects and cinematography for 1940 were astounding. Particularly love the hypnosis scene (photo below). Certainly a film full of some of Hitchcock's greatest set-pieces. Probably ought to re-watch it down the road. Here's the scene I was referring to:  |
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Post by idioticbunny on May 23, 2018 2:52:47 GMT
Probably ought to re-watch it down the road. Interesting you say that, because it's one that I've found myself prone to watch often. And I think the reason is precisely because the McGuffin, as it were, has a stronger moral compass than just driving a suspenseful plot. I feel similarly about Notorious, which I actually think is one of Hitchcock's finest efforts. The McGuffin in that is merely a ploy to reveal human frailty and need - something not often found in his films.
I very much agree with you there, and I feel the same exact way about Notorious. It's one of a plethora of reasons why it's in my top five Hitchcock films. Maybe one day Foreign Correspondent will grow on me like that. Another reason I think Notorious is one of my favorites is because of the one genre Hitchcock gets discussed at being expert in far too little - romance. Yes, he's rightfully the Master of Suspense, and to a lesser extent horror, but many of his films - especially the "man on the run" films like Foreign - have this subplot of romance that so naturally becomes a forefront of the story all the way to the end and holds a lot of bearing on its character's actions that you hardly even realize it's happening. Notorious is an obvious example of how well he directs romance, but I also think it's the best example. The MacGuffin ties in to it all nicely, too, as you say because it deals with frailty and need - something very much evident in the relationship between Grant and Bergman as well (and Bergman and Rains while we're at it). Yeah, I could talk about it for days. There's a reason he's my favorite director. |
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Post by idioticbunny on May 23, 2018 18:30:30 GMT
Yeah, I could talk about it for days. There's a reason he's my favorite director. Great comments, bunny. One of these days we'll have to talk about Shadow of a Doubt. That was Hitchcock's favorite and, he thought, personal best. Yes indeed. I remember hearing that as well. Really needs a re-watch as I wasn't a fan on first watch, but it's been growing on me a lot. |
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