Balancing Hitchcock

More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)

28 October

* Contains spoilers *

I will always make time to try to see a Hitchcock - as, broadly, with any film - in the cinema.

Often enough, it is a restoration, and the BFI has done a fair bit of that recently with his early films. There may be one screening (or a limited number), but one can usually hope to make it.

However, when the strand at this year's Cambridge Film Festival put on twelve films in the only eleven days that it ran*, there were inevitably going to have to be compromises, if trying to do all of them did not become an aim in itself, dictating that one could not see nearly as much of others' work. I therefore chose to limit myself to three (although, if domestic arrangements had permitted, I would happily have made an excuse to reacquaint myself with North by Northwest (1959)).

Vertigo (1958), I have already found time to talk about separately here, which leaves Blackmail (1929) and Marnie (1964), very different times, as we needed to be treated to piano accompaniment to the former. (Sadly, the festival web-site does not credit the pianist for his superb work, but I am able to name John Sweeney, because I have spotted his name in the programme (where I least expected it).)

I think that there may be similarities and preoccupations that I can identify, and, straightaway, is the fact that Hitchock is drawn to making the woman the criminal wrongdoer in all three films (whatever others may have done, it is her guilt and whether she can escape from it that is our point of attention): is Hitchcock giving us, deep down, what we want, or what he really wants (they may be the same thing)?

The contrast is with the Cary Grant figure, not just in NBNW, who is often enough a spy or a policeman (although, in the named film, he has to choose his allegiance, once he has worked out what is going on). I am just guessing, when I should really find out, that Hitchcock may have become influenced by, and even have experienced, the world of psychoanalysis that was so prevalent. Whether or not be believed in it, a film such as Marnie typifies the embodiment in Hollywood cinema of Freudian or sub-Freudian thinking and beliefs, for we are shown a young woman both shaped by her past and with recollections, which she cannot understand for herself, of what that past really means.

The scenes where Marnie ('Tippi' Hedren) relates to her mother (Diane Baker) - or, rather, doesn't relate to her mother, except on the most basic, human level - are almost too painful to watch: there is a torn, broken relationship, although the ties are there. The unfolding of the film tells us what really happened, why Marnie experiences what she does, and the forgetting that is usual in these films is here exposed by Sean Connery's dogged detrmination (as Mark Ruland) to find out the truth, because of the woman whom he loves. Revelation, redemption, renewal is almost the pattern.

In her book In Glorious Technicolor, Francine Stock considers, whether or not it was any more than cinematic convention, this prevalent presentation of one startling breakthrough in recollection or insight that will change everything (itself a sort of version of the American dream of anyone 'making it', and going from rags to riches, by suggesting that the transformation could be so strightforward and simple), which dominated this type of psychiatric or psychological film for a long time: the pattern, as she expounds it, is clearly there in Spellbound (1945), with, there, a male suspected of murder (Gregory Peck) and Ingrid Bergman as the psychiatrist who achieves the breakthrough.

Unlike the women in Blackmail, Vertigo, and Marnie, Peck's character is accused of wrongdoing, but is not ultimately guilty of it. Turning to the first of those, Anny Ondra (as Alice White) has left clues of what she did in self-defence, and they dog her for much of the film. When seemingly free of them, what Hitchcock clevely does is pull the rug from under us that there had been a common understanding, with her policeman boyfriend (John Longden), as to what was being covered up. It is too late, but what, maybe we wonder, will become of them, and what did he think that he was hushing up?


End-notes

* Not to be critical, but this was more of a season than a strand, and I do wonder whether there might be scope for bringing some of them back together so that those who, like I, wanted to see films that may never appear can see some new ones, some maybe not so new.


If you want to Tweet, Tweet away here

Spot the film

More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)

9 June

No, I didn't mean 'Spot, the film', or anything to do with fictional dogs!*

Take a look at this:

A drama critic learns on his wedding day that his beloved maiden aunts are homicidal maniacs, and that insanity runs in his family.


What springs out about this as a one-sentence synopsis (taken from IMDb)?

* Is it the pointless specificity of giving Cary Grant's occupation (or calling)?

* Likewise as to when in his life the revelation takes place?

* The banality of the tone in which the message is conveyed? As if the text read

An accountant learns on his way home that his beloved maiden aunts are going on a long journey, and that a liking for travel runs in his family.


* Or is it this? That whether objectively the sisters are killers, who are acting under a delusion, they believe themselves to be sisters of mercy, saving those whom they despatch from further suffering


End-note

* This pointless gibe at the writings of one Lynn Truss was sponsored by a major Plc.


If you want to Tweet, Tweet away here

The habit of collecting (4)

More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)

28 April

Few - not even Bruno Bettelheim's adherents, acolytes, agents, and (they think) apostles - would doubt that the (core) impulse is something of the order of:


There's one that I haven't got!


Mrs President Marcos [I'm calling her that just to be flippant] knew that feeling well, but what did the possessor (as I cannot well speak for ownership) and person displaying this number-slave have at the forefront of his or her mind to have collected it?


GD15 SIX


Which one has to translate into GD IS SIX, as well as postulating that there must be many, many others in the series (in fact, as the whole aphabet isn't used, it must be 23 or 24 squared, some of which might mean more than others):


DD IS SIX (for Dating Direct*)

BB IS SIX (I need not explain that one, I fear)

GG IS SIX (good old Germaine**!)

BJ IS SIX (now that is rating something...)

CJ IS SIX (for those flagging already, just skip to the closing homily!)


All of which, though, assumes that the proposition talks about an age, anniversary, or score, whereas there could be something else going on...

x = 2

x x y = 6


y = ?



Back with the proposition GD IS SIX, could it, itself, be a known acronym, maybe for:

* Gross Diameter

* An open source code library for the dynamic creation of images by programmers (according to www.boutell.com/gd/)

* Graeme Dixon

* The ethical URL shortener with no registration required (according to v.gd/)

* Grand Designs

* Great Dunmow

* Gérard Depardieu (or, to extend him to his full height, Gérard Xavier Marcel Depardieu)


The end is listless, I believe


But it must really be to do with the spirit of North by Northwest (1959), one of the craziest, but still best, Cary Grant films ever - we are being (or feel that we are being?) set this puzzle to work out, who - or what - 'GD' is, and what it means for it to be 'six', or '6'.

But maybe it's a metaphor for what we make of life, and could mean no more than the title of that Hitchcock film - a big confusion about nothing (where people get killed - or do they?).

Maybe God's Design for Richard Dawkins, maybe Dawkins' message to a God (whom he states is fictional) - God Deficiency is Six?



In closing


Personally - if I can be intimate and private for this closing moment - I don't go along with much of that


We will never know the answer, but that's because it's all wrapped up with


Cheltenham - GCHQ - MI6 - Whitehall - Harry Palmer - hush hush - need-to-know basis - Reggie Perrin and his brother-in-law Jimmy


Amen


Post-Amen (as at 6 May)

In fact, it was GL15 SIX, so please ignore suitable amounts of the above!



End-notes

* Or Deadline Dave...

** Would that be a kind of rating (a bit as for bowed Eric)?


If you want to Tweet, Tweet away here

DVD release: Misrepresentation (2009)

More views of - or after - Cambridge Film Festival 2011
(Click here to go directly to the Festival web-site)

25 February

For more on why what follows was written, go to the web-site of New Empress Magazine:

Myself (in a sideways take on this), I’d watch out for a DVD issue of a film called Misrepresentation (2009).

You won’t happen to remember it being on general release, which is strange, because it is said to star (amongst others) Johnny Depp and Lady Gaga, so you are fascinated.

When, having bought it (in said state of fascination), you finally take it out of the pile of DVDs like mine that you know, if you’re being honest, you’ve got of films that you ‘haven’t quite yet’ caught up with, you won’t be disappointed:

You’ll actually prefer what you see, because it’s that winning team of Hepburn and Grant in Charade (1963).

So, enjoy it, and just thank the kind distributor for your not having to witness the film – if it had been made – that would otherwise be on your screen!

(By the way, more such oddities – sometimes, amid genuine reviews – on the blog at Unofficial Cambridge Film Festival)


If you want to Tweet, Tweet away here