Leonard here. The following column is written by my colleague Mark Searby highlighting British cinema past and present. Please enjoy A Bit of Crumpet.
Everybody, at some point in their life, has seen an Alfred Hitchcock movie. He made so many iconic films throughout his career. He was, and still is, hugely influential in filmmaking. The films that most know are post mid-1930s. Films such as Jamaica Inn, Rebecca, Shadow of a Doubt and onto the bigger ones like Psycho, Rear Window, North by Northwest etc. But what about his pre-1940s movies made before his venture over to Hollywood? Those don’t get talked about anywhere near as much.
Hitchcock: The Beginning brings together ten of Hitch’s early works to Blu-Ray for the first time, and a new documentary called Becoming Hitchcock. The films in this boxset include:
The Ring
The first film where Hitchcock collaborated with his future wife Alma Reville on the screenplay (although it did have added input from Hitchcock’s silent films co-writer Eliot Stannard). It tells the story of two boxers fighting over the love of one woman. The actual boxing, at first, seems a bit slapstick. But once the fighting gets going it turns into a ring-a-ding-ding weighty affair with some real power behind those scenes. On the flip of that is the romance storyline which is frothy and sweet. Both sides even the film out nicely. The scenes of racism are disturbing though, which does leave a sour taste in the mouth, in an otherwise entertaining sports drama. This is Hitchcock starting to find his feet in filmmaking. Beautifully shot and some of the editing choices are outstanding. Both Francois Truffaut and Eric Rohmer said that this was a hugely influential movie when it came to the technical process.
The Farmer’s Wife
A young famer sets out to find a new wife with the aid of his housekeeper. This little romantic-comedy takes a while to get going. Yet, once the farmer is on the dating circuit it ends up being a bit of a laugh and a bit of love. Farcical silliness ensures that will raise a titter or two. Minimal use of intertitles means a lot of the story is told through POV camera shots, and the actors in question give some great reactions. Hitchcock certainly had an eye for comedy early on, it’s a shame he dropped it in his later years. A Sunday afternoon on the couch film if ever there was one. Charming, in a sort of easy-going way.
Champagne
Spoilt Heiress decides to go against daddy’s wishes and runs off with her lover on a cruise. Even by the title and the opening scene (a champagne bottle being opened into camera), you know this is going to be a booze-y affair. But drunkards can’t save this less than interesting family drama. Plot that seems to never know what to do with its characters except make them obnoxious or stupid. Less-than-funny comedy moments, especially with legendary British actress Betty Balfour in the lead, make this a bland Hitchcock film. Yet, some of his camera technics on display are impressive. Cuts and dissolves work perfectly into the next scene. And there is a beautiful photographed ship’s dining area. But this is ultimately a flat movie.
The Manxman
More tug-o-war romance from Hitchcock after his go at it with The Ring. This time two childhood friends fall in love with the same woman. This movie might be one of Hitch’s silent films, but it crackles and fizzes with love & lust. Carl Brisson and Malcolm Keen appeal to those looking for suave & sophisticated or rough & ready. Yet it is Anny Ondra who sizzles the screen with looks and wanting have her cake and eat it by playing with each man. A well-driven character piece that benefits from three excellent central performances. Also, beautifully shot in Cornwall (pretending to be the Isle of Man). A strong, silent movie from Hitch. Probably his second best, up to this point, after The Lodger.
Blackmail (Silent and Talkie version)
A woman is blackmailed by someone who saw her kill a man in self-defence. This film is very much the Hitchcock stylings that we would come to know and love in his later films. Hugely suspenseful with plenty of twists and turns for each character especially the main character of Alice White, who is being judged from all sides as to what she did. Having a female killer in 1929 was pretty forward thinking from Hitch. But then the cover-ups from White and her lover are what makes this film stay on a knife edge as to if they will be caught. However, the racier bit of the film was having White undress behind a backlit curtain. Apparently, it got audiences all hot under the collar as it just wasn’t something seen on-screen during the roaring twenties.
While the silent version is a perfectly acceptable presentation. I much preferred the talkie version. Shot after half the film had already been made, Hitchcock included certain scenes with actual audio dialogue. Making it even edgier for the time. Also, see if you can spot where White, played by Austrian/Czech actress Anny Odra, was live-dubbed by British actress Joan Berry, who was stood just off-camera saying the words while Odra mimed along.
Juno and the Paycock
Hitchcock adapted this Irish play for the screen. Maily set within the two-room apartment that the Boyle family live in during the Irish Civil War. When they receive a big inheritance, the family start to lead a richer lifestyle and alienate their friends and family along the way. A dramedy about never forgetting your roots that sadly never quite gets beyond its stage roots. This was the first all-sound movie by Hitchcock and some of it does very much sound like a director trying to figure out new technology. Some call this Hitch’s worst film. But I’d disagree. Yes, it’s heavy on dialogue and the acting is very hammy. However, as a stepping-stone, from silent to sound, for the director it’s an interesting case study.
Murder!
Adapted from the book by Hitchcock, his wife Alma and ex-film critic Walter Mycroft. A juror has second thoughts on his decision to convict and sets about trying to uncover the real truth. But can he do it before the guilty party is executed? Hitchcock playing in the whodunit ballpark, of which he would find a lot of success later in life. It’s a story that could so easily have lost its way into blandness. It does lack a bit of storytelling zip at times. However, Hitch’s direction keeps the film ticking along nicely and through to an absolutely thrilling climax. There are also plenty of Hitch’s signature camerawork appearing in this film.\
The Skin Game
Old Money vs New Money in this family drama. The upper-class Hillcrists go to war with the once working-class turned nouveau riche Hornblowers over buying land and then renting it to famers before botting them off it. A sadistic game of brinkmanship between the two families causes problems within each one as they trying to take the other family down. A solid adaptation of the stage play. If it wasn’t mentioned, then you would be hard pressed to guess this was directed by Hitchcock. It lacks his directional flair and comes across as a safe, yet unspectacular, affair. Also, some of the regional British accents leave a lot to be desired.
Rich And Strange
When Fred is gifted an inheritance by his uncle it seems to be the answer to his and his wife’s prayers. Quitting his job and both of them hob-nobing it around the world, this seems to be the life Fred and Emily want. But soon happiness turns to hatred, as both Emily and Fred become entangled with other people, sexually. A con artist, some dodgy ship food followed by a sinking boat sound like the makings of some classic Hitchcock drama. However, the real thing Hitchcock takes aim at with Rich and Strange is marriage. Cynical throughout, with Hitch makes both Fred and Emily quite dislikable from start to finish. Even the opening scene of Fred travelling on the London Underground and accidentally grabbing hold of a woman’s hat is played partially for laughs but also partially to show what a reprehensible man he can be. Which is strange for a film that seems like a bubbly rom-com from the outside.
Number Seventeen
Based on the stage play of the same name, Hitchcock wrangled with this to adapt it for the screen. But years later confessed that he never quite got it right. It’s easy to see why with its messy plot and shabby characters. This isn’t one of Hitch’s best efforts. However, the big finale of a train/bus chase sequence more than makes up for what has gone before it. Just keep an eye out for which are the real train and bus as opposed to the toy versions.
Alongside those films is Becoming Hitchcock: The Legacy of Blackmail. A newly commissioned documentary. It discusses the films leading up to Blackmail and how they influenced Hitchcock in his filmmaking of Blackmail. It also talks about making the silent and talkie version, including showing clips side-by-side to show the difference when it comes to the two versions. There are some interesting titbits within this documentary, especially on Blackmail and Hitch’s early work. But the doc loses focus a bit in the middle and starts to talk about Hitchcock’s later work, which isn’t what the documentary is meant to be about. It does right itself towards the end and refocuses on the finale of Blackmail, which I found very interesting. Very much a DVD extra documentary, yet a worthwhile extra that compliments the film nicely.
This boxset is more than just for Hitchcock completists as there are some films here that are genuinely entertaining and exhibit signs of Hitchcock finding his style very early on (even before sound came into play). Hitchcock: The Beginning is a worthwhile boxset for anyone interesting in early cinema and/or the master of suspense Alfred Hitchcock.
Hitchcock: The Beginning is now available from Studiocanal UK.
