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Brit Trainload Of Hitchcock


The Lady Vanishes (1938) Still Plays Strong


We had an old radio station that became an art gallery, then was given over to model railroaders who built a scale town through which trains ran, their tabletop consuming near-whole of the building. It's a remarkable display, and evidence of what hobbyists can do where given plentiful space to cut loose. How often do personal obsessions have a practical application? The man who cured polio could have answered that, while ones of us gone on old movies and mini-choo-choos must forever wonder if what we do could matter a hoot to posterity. One instance where play toys did serve practical use was Alfred Hitchcock's opening sweep for The Lady Vanishes, his camera travel over mini-rooftops an endearing sleight-of-hand. Someone, or some team, had to build all this time-and-place setting for opening seconds that get The Lady Vanishes underway. There are toy cars that move and even toy people whose arms go up/down. It's clearly fake to us, especially with aid of Blu-Ray, but what marvelous ingenuity! Think of Hitchcock down on the floor making adjustments --- he'd not have delegated this job and missed all the fun. I'll bet AH designed every intricate detail of this built-to-scale set. Imagine having to tear it all down after shooting and discard the lot. Surely he kept a few souvenirs.




Criterion's booklet with The Lady Vanishes has fine essays by Geoffrey O' Brien and Charles Barr. O' Brien mentions that the project was originally set for American director Roy William Neill. How close might his Lady Vanishes have come to the Master's? A possible tip is eight years' later Terror By Night, a Sherlock Holmes thriller set aboard a train and directed by Neill. I watched that one last night for an umpteenth time and realized how foolproof trains are toward detection of murder and mayhem. They are also a best ally to budget filmmaking. Hitchcock was evidently as constrained for The Lady Vanishes as Neill would be with Terror By Night. British Hitchcocks are admired for what he achieved on tight money. O 'Brien quotes Hitchcock recall that his train set was ninety feet long. That's like a really good deck built on back of a ranch-style house. Everything else in The Lady Vanishes was camera trickery, said Hitchcock. Cramped action can work on trains because the setting itself stays in motion, with always a threat that someone can be thrown off or the locomotive will crash. Better filmmakers will suggest movement via passing landscape seen out windows or, as used by Hitchcock, wine glasses that threaten to slide off a table due to oncoming curves.




Hitchcock like any director could not get beyond writing that was misjudged. Weak pictures were made so by weakness in his stories, Hitchcock "touches" but a mask for moments not supported by the whole. There is no Hitchcock that does not have dynamic scenes, plenty more than one in fact. I wonder how much guidance Frank Launder and Sidney Gilliat got or needed from Hitchcock. These writers came to him already brilliant. What they'd do later for other directors (Night Train To Munich, Green For Danger) could be compared with the best of Hitchcock. The Lady Vanishes was a spy yarn like most of what Hitchcock had done since breakout of The Man Who Knew Too Much. He was clearly too major a talent for US companies not to steal, each of AH thrillers an audition toward domestic employment. Clipped-Brit-chat was all that kept them at distance from stateside provincials. Otherwise it was clear that Hitchcock could be refined for Yank consumption, his instinct for crowd-pleasing right up our alley.




One-Sheet For United Artists' 1952 Reissue
A stricter-enforced Code had, among other things, replaced our rat-tat gangsters with more civilized villainy. To this fresh policy came ideal timing of Hitchcock, whose thrillers thrilled without overt violence that got US censors in a lather. His heavies could even be good sports when ultimately beaten, as with Paul Lukas in The Lady Vanishes. Humor too could leaven stress of otherwise grim situations AH devised, further delight for domestic viewers who had already taken The Thin Man and other froth mysteries to bosom. The Lady Vanishes and others from Hitchcock were fresh then, different even for being both British and entertaining (anomaly in itself), but they weren't a radical departure from softened crime pursued on American screens. Hitchcock properties could easily have been adapted and remade by US companies with homegrown casts. Stories and smart dialogue were certainly there to warrant effort, and some journeyman could at least try duplicating AH effects. I wonder if this was considered as films like The 39 Steps and The Lady Vanishes made their splash in the states, for liked as they were, it was mostly by art house dwellers. Imagine what a photo finish of The Lady Vanishes might have done with Yank polish and say, Carole Lombard and William Powell in the leads rather than remote Margaret Lockwood and Michael Redgrave. We can be thankful this didn't happen, and that Hitchcock was instead brought over to re-mold us to his notions of thrill-making.




A Janus Standby For Art Houses From The 60's Forward
Hitchcock talked a lot about "McGuffins" and so forth, but what that reflected, I think, was his profound indifference to politics, or at least politics as we are currently bludgeoned by it in movies. His fascination by film was something that matters of state just didn't enter into. Was any director who did this many spy yarns so opaque as to his own convictions? A big reason Hitchcock doesn't date is the fact we never knew, still don't, where the man's sympathies lie. It could be said, and has, that The Lady Vanishes emerged "in the shadow of fascism," but wouldn't AH have given us pretty much the same twists, fascism or no? He would embrace WWII themes, do propaganda for the Allies, but this was beyond politics and a matter of defending his workplace and shores back home. If Hollywoodfell, where could Hitchcock go on being the Master Of Suspense? The Lady Vanishes doesn't require context to enjoy. That isn't true of most preparedness thrillers, being why current audiences reject most of them. All of Hitchcock happens in his place of make believe, current events seldom if ever playing into that. Foreign Correspondent, made closer to war's reality, is still spying in the abstract, and I suspect whatever emphasis it put on current events was more the notion of producer Walter Wanger than Hitchcock.


This post first appeared on Greenbriar Picture Shows, please read the originial post: here

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Brit Trainload Of Hitchcock

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