The Lady Vanishes - this Sunday on Masterpiece

This Sunday on Masterpiece Mystery will see the premiere of The Lady Vanishes, based on the novel by Ethel White and memorably brought to the screen by Alfred Hitchcock in 1938 (one of my favorite pre-Hollywood Hitchcock films). Here's a bit about the story and a short preview:

The Lady Vanishes packs in the suspense and style when Iris Carr, a beautiful young socialite traveling alone, befriends a kindly English middle-aged woman but wakes from a catnap to find her missing – and all the strangers surrounding her denying that the woman was ever there at all! This closed-door mystery classic investigates the question of madness and isolation set among increasingly sinister passengers and a train barreling through Europe toward a dangerous and dizzying final destination: the truth.

With a nod to Alfred Hitchcock's 1938 adaptation and a return to the book that started it all (Ethel White's The Wheel Spins), The Lady Vanishes stars Tuppence Middleton (Inspector Lewis, "Down Among the Fearful"), Tom Hughes (Page Eight), Keeley Hawes (Upstairs Downstairs), Gemma Jones (The Duchess of Duke Street), and Alex Jennings (Cranford).

Watch The Lady Vanishes Preview on PBS. See more from Masterpiece.

Review: Fear in the Sunlight by Nicola Upson

Fear in the Sunlight (Josephine Tey #4)
By: Nicola Upson
Publisher: Bourbon Street Books
ISBN: 978-0-06-219543-2

Review:

British mystery writer Josephine Tey and a select group of friends descend upon the Welsh resort village of Portmeirion in the summer of 1936 with a two-fold purpose -- one, to celebrate Josephine's milestone fortieth birthday, and two, to meet famed filmmaker Alfred Hitchcock and his wife, Alma, to consider their offer to turn Josephine's novel, A Shilling for Candles, into their next film. Between Tey and the Hitchcocks, Portmeirion has attracted a glittering and varied clientele, but one that for all its seeming privilege stands at the precipice of profound change. Facing middle age, Josephine is preoccupied with analyzing her feelings for one-time lover Marta, while the Hitchcocks, having reached the pinnacle of success in the British film industry, face the decision of whether or not to try their fortunes in the glittering American mecca of Hollywood. But personal turmoil is quickly forgotten when two women in the party are found brutally slain, bringing to light a hidden web of family secrets and long-festering hatreds, casting a bitter pall over the once-sunny party. The advent of "fear in the sunlight...where it is so unexpected" reveals the machinations of a criminal mind so depraved as to test even the mettle of the Master of Suspense...

When I was given the opportunity to review this title, I was thrilled with the chance -- murder in the glamorous pre-war 1930s, featuring one of my favorite filmmakers at the height of his powers? A heady proposition indeed. While I have only a passing knowledge of Tey, having yet to read one of her novels, I have thoroughly enjoyed other contemporary authors' ventures in casting authors as sleuths (i.e., Stephanie Barron's Jane Austen mysteries). As a long-time lover of the cozy mystery perfected by Agatha Christie, I expected something of that ilk from this novel -- an atmospheric outing with a healthy dose of history, wherein a famous author matches wits with a killer -- something akin to a real-life (and younger) Miss Marple. What Fear in the Sunlight delivers instead is something substantially less than expected -- atmospheric, yes, but more of a psychological treatise than a period mystery, with a sprawling cast of characters, where Tey's presence is so anecdotal to the plot as to be completely superfluous.

When Tey isn't debating whether or not to agree to Hitchcock's film proposal, she's struggling to define her relationship with Marta (who, it must be mentioned, is already IN a relationship with another "mutual" friend -- what. a. mess.). It's interesting to note that Tey's famous love of privacy and single status (her fiance died in the first World War) seems to have led to the assumption that she must have indulged in same-sex affairs -- and the assumption here, of something undocumented and of a highly private nature, is troubling. Literally every other character fares better than Tey here, particularly her close friend, police inspector Archie Penrose, and the Hitchcocks themselves, as well as the Draycott family, the latter of which figures largely in the horrors that unfold. Penrose is an interesting character whose intelligence and sense of justice would make a compelling lead -- one wonders why, with Tey so nominally "involved" in the crime at Portmeirion, that this isn't simply a mystery featuring Penrose and his experiences. That said, the expansive case of characters featured here is wildly confusing at first blush, and it takes about a fourth of the novel before the narrative begins to coalesce, where a darkly disturbing picture of poisonous family secrets begins to emerge, seeds planted decades earlier that grimly flower in the most incongruous of locales.

Following a painfully slow start, Fear in the Sunlight manages to gel into a page-turning mystery that plays with the idea of the the reader as voyeur, and what, if any, responsibility does the watcher bear in what unfolds -- much like Hitchcock did in his many films. Upson spins a heady web of messy family secrets, only barely glossed by a coating of Hollywood glamour -- a sheen that quickly vanishes as bitter rivalries and dangerous obsessions come to light (not to mention the stomach-turning descriptions of crime scenes). If Tey was dropped from the novel and the narrative's oft-times meandering exploration of fear and voyeurism was trimmed and tightened, allowing Penrose to take center stage and increased character development among those actually involved in the crimes, Fear in the Sunlight had the potential to be a stellar period mystery. As is, for all its flashes of interesting psychological insight or neat plot twists, I'm left wishing for what could have been rather than what was, hoping that someday, Penrose gets his own novel.

About the book:

"Fear of the dark is natural, we all have it, but fear in the sunlight...where it is so unexpected -- that is interesting." -- Alfred Hitchcock

Summer 1936. Mystery writer Josephine Tey joins her friends in the resort village of Portmeirion, Wales, to celebrate her fortieth birthday. Alfred Hitchcock and his wife, Alma Reville, are there to sign a deal to film Josephine's novel, A Shilling for Candles. But things get out of hand when one of Hollywood's leading actresses is brutally slashed to death in a cemetery near the village. The following day, as fear and suspicion take over in a setting where nothing -- and no one -- is quite what it seems, Chief Inspector Archie Penrose becomes increasingly unsatisfied with the way the investigation is ultimately resolved. Several years later, another horrific murder, again linked to a Hitchcock movie, drives Penrose back to the scene of the original crime to uncover the shocking truth.

Thanks to TLC Book Tours for the review opportunity.

Femnista: Alfred Hitchcock!

I am super-excited to announce that the special Halloween issue of Femnista is finally available, featuring the films of one of my favorite directors, the inimitable Alfred Hitchcock! I took the opportunity to write about one of my favorites, North by Northwest.


Click to launch the full edition in a new window
Online Publishing from YUDU

Enjoy! :)

North by Northwest: Inside the Script

North by Northwest: Inside the Script
By: The Editors of Warner Bros. Digital Publishing

Publisher: Warner Bros. Digital Publishing

ISBN: B007VCUJVK

About the book:

  

Explore the twists and turns of director Alfred Hitchcock's most spectacular suspense thriller in an engaging new way with North by Northwest: Inside the Script. This highly illustrated, meticulously designed eBook features the complete shooting script along with a 14 chapter, in-depth look at the film's development and its backlot secrets.

Warner Bros. Digital Publishing proudly presents North by Northwest: Inside the Script, a monumental digital exploration of the sophisticated screen classic starring Cary Grant and Eva Marie Saint. Follow the film's adventurous tale with insights that Inside the Script delivers at the touch of a finger. Go behind the screenplay to learn about Hitchcock's methods and memes, from MacGuffins to deceptive appearances. Step inside the production process and witness the talent and technique it takes to develop a single idea into a cinematic classic. "Oooh" and "Aah" at the film's fashions, its breathtaking sets and its charming leading man through hundreds of beautifully reproduced production stills and behind-the-scenes photos.

Every volume in the Inside the Script series offers elegant design and formatting not usually seen in eBooks. Zoom in on high-resolution images and examine every detail. Customize your reading experience using internal links that instantly take you from scene to stills, from act to analysis, from dialogue to production memos. Use the Image Catalog to quickly locate any picture in the book. Learn why North by Northwest is the ultimate thriller from the Master of Suspense.

North by Northwest: Inside the Script includes:

• The complete, authentically formatted shooting script for North by Northwest, in a new, customizable eBook format. 
• 14 chapters about the film, including its development and creation, as well as master filmmaker Alfred Hitchcock’s story techniques. 
• The storyboards for the film's famous crop-duster sequence. See how little or how much changed from page to screen. 
• An exhaustive peek inside Hitchcock’s own papers, including production schedules, story department memos, daily scene reports, costume sketches, legal memos and post-production notes on music, titles and editing. 
• Image galleries with 158 zoomable, high-resolution images of costumes, on-set stills, movie posters, original production sketches and plans, and more! 
• Glossaries of historical and film terms. 
• Production timeline.

Review:

I'm a huge fan of Alfred Hitchcock's films, and while many rank as beloved favorites North by Northwest consistently rises to the top of the list as my all-time favorite by the Master of Suspense. As such, this behind-the-scenes book on the making of the film was an irresistible purchase. I read this book on a standard Kindle, so a large part of this rating reflects how the material works on a regular, "no-frills" e-reader versus more interactive tablets such as the Kindle Fire or iPad (as in my opinion the film itself is stellar). The first twenty-percent of this book contains a variety of chapters on the history and conception of the film, which are for my money the book's strongest assets. I particularly enjoyed the chapters on Hitchcock's directorial process, the conception of the script and his collaboration with screenwriter Ernest Lehman. Also of particular interest is the chapter on Hitchcock's use of "MacGuffins" in his films -- the device or object that drives the plot forward, with little or no attention paid to how much sense it makes to the characters or the story arc. I also found the chapter on the filming and sets, particularly how the Rushmore sequences were created and filmed, extremely informative.

I suspect this book would work best on full-color readers with touch screens. There are links throughout the chapters and script that refer to explanatory material earlier or later in the text, or to one of the film stills in the many photo galleries sprinkled throughout the book. On the six-inch black and white display of the regular Kindle, the photos are crisp and clear but would be so much better in color, with the easy zoom option on touch devices. And the five-way controller on the Kindle makes link access somewhat cumbersome. But the material, particularly for aficionados of the film or Hitchcock in general, serves as a pretty interesting (and to my amateur eye) and well-documented reference or "keepsake." For standard e-reader users, I just wish there'd been the inclusion of even more detailed behind-the scenes information -- a 20 to 80 percent ratio is tantalizing, but not enough to make this a truly must-have film resource.

Hitchcock trailer

The trailer for the upcoming film Hitchcock has been released and I am SO intrigued:



The film stars Anthony Hopkins as Hitchcock, Helen Mirren as his wife Alma Reville, Scarlett Johansson as Janet Leigh, and James D'Arcy as Anthony Perkins. It's slated for release in November!

Stage Fright

I have always considered myself an aficionada of Alfred Hitchcock's films, but somehow 1950's Stage Fright completely escaped my notice until I caught a recent airing on TCM. Though not quite on par with Hitchcock masterpieces like Rear Window or North by Northwest, Stage Fright is a fine example of the director's "lighter efforts," exhibiting an utterly charming, distinctly British sensibility. The delightfully dry, understated humor in the script combine with Hitchcock's signature flair for suspense, resulting in a droll, appealing slice of 1950s cinema.

The film opens with a "curtain" raising on the city of London, a blatant signal that everything which follows is a fiction. But the question is, does that fiction operate according to the usual filmmaking "rules"? Hitchcock starts the action immediately, cutting to Eve Gill (Jane Wyman) and Jonathan Cooper (Richard Todd) fleeing the city. Jonathan confesses to Eve that he's the secret lover of Charlotte Inwood (Marlene Dietrich) a popular and married actress. In flashback Jonathan narrates the events that brought him to Eve for help - Charlotte came to his apartment wearing a bloodstained dress, frantic after killing her husband during an argument. Jonathan agreed to return to her home to procure a fresh gown, and while attempting to stage a fake robbery is spotted by Charlotte's maid, Nellie Goode (Kay Walsh) - and now he's the police's number one suspect.

Eve, an aspiring actress, has long been in love with Jonathan, and determines to get her father the Commodore's (Alastair Sim) assistance in clearing Jonathan's name (and perhaps in the process at long last turning his affections toward herself). What follows is a thoroughly enjoyable mix of humor, heart, mystery, and suspense, delivered with a deftness of touch and a finesse like only Hitchcock could deliver. This is a cast that works really well together, and is one of the movie's biggest strengths - perhaps all the more notable because it was peopled with performers that weren't part of Hitchcock's list of usual "suspects" (i.e. Jimmy Stewart, Cary Grant, Grace Kelly, etc.). Stage Fright was the first almost entirely British film - filming locations and cast (with the exceptions of Wyman and Dietrich) that Hitchcock had made since the 1930s, lending it a feel and flavor rarely since in full force during his Hollywood tenure.

I've never really been a big Jane Wyman fan, probably because my exposure to her work has been limited to her roles in soapy, melodramatic films like Magnificent Obsession, All That Heaven Allows, and Miracle in the Rain. The character of Eve is by contrast a revelation - Wyman plays the wide-eyed, determined ingenue with a touch of spunk and an affinity for comedy (especially when Eve masquerades as a dowdy lady's maid to spy on Charlotte) that I never would've suspected. Stage Fright is perhaps the loveliest I've ever seen Wyman on film, and she brings a warmth and humor to the production that play extraordinarily well in the context of the story.

As Eve's crush Jonathan, Richard Todd is absolutely fantastic. My earliest memories of Todd go back to my childhood, when I watched his Disney films (The Story of Robin Hood, The Sword and the Rose, and Rob Roy) endlessly, and developed a huge crush on his classic good looks and boyish charm. Hitchcock puts those qualities to excellent use here. It's easy to see why Eve loves him, but should she is another matter entirely - there's an unsettling tension and energy underscoring Todd's performance that explodes in the final scenes in a wholly satisfying and surprisingly creepy manner.

The cast is liberally peppered with great British acting talent in memorable character roles, among them Kay Walsh as the hard-nosed maid Nellie with a propensity for blackmail, Joyce Grenfell in a hilarious scene as a carnival booth operator, and even Hitchcock's own daughter Patricia as "Chubby" Bannister, one of Eve's friends and a fellow student. But the award for the best and most hilarious performance must go to Alastair Sim as Commodore Gill, Eve's father and partner in crime (the crime being their amateur criminal investigation). I suspect Sim is perhaps most familiar (to American audiences, anyway) for his turn as Ebenezer Scrooge in the 1951 production of A Christmas Carol. As the Commodore, Sim is hysterically funny, practically stealing every scene in which he appears. Eve's somewhat unconventional father absolutely relishes anything that smacks of a slightly unsavory scandal, loves the idea of having a less-than-stellar reputation, and does everything he can to support his daughter's investigation - all with a delightfully droll, witty British sensibility.

I've always been rather ambivalent about Dietrich, and to be quite honest it's a little freaky how eerily "ageless" she appears in this film. But it's undeniable that she is probably the perfect foil for Wyman's Eve. Cold and icy, brittle and calculating, Dietrich's Charlotte is the antithesis of everything Eve represents - and quite frankly it's kind of fun to watch her mack for the camera and unravel as the film heads towards its climax. She even gets a Cole Porter penned song ("The Laziest Gal in Town"), a lyric that is deliciously ironic when considered in the contex of the film (and, according to the "making of" featurette included on the DVD, a number she regularly resurrected in her shows years later).

My absolute favorite part of this film is any scene featuring Michael Wilding (also known as Elizabeth Taylor's second husband) as "Ordinary" Smith, the detective investigating the murder of Charlotte's husband. Now I've seen Wilding in a handful of films (Torch Song, The Egyptian, and The Glass Slipper), and while he was good in those films, those characters didn't make me sit up and take notice of his urbane good looks and delicious voice. As the sweet and a bit shy Smith, Wilding is positively delightful. DELIGHTFUL, I tell you! The "meet cute" with Eve is just too adorable for words - and the fact that he basically loves her from the moment they meet? Be still my heart. :)

Spoilers...There is apparently some controversy about this film due to Hitchcock's decision to open with Jonathan's "lying flashback" (a decision he later regretted according to the "making of" documentary). After spending some time mulling over this storytelling technique, I've got to conclude that the decision to tell the story of the murder from the point-of-view of an unreliable narrator was perhaps ahead of its time, but ultimately serves the film well and makes the final "reveal" of Jonathan's true nature all the more chilling. As an audience we're used to a film being presented as "reality" from start to finish - but by raising the curtain on London over the opening credits signals the film's awareness that it is a fiction - and the lying flashback is an interesting method of messing with audience expectations and perceptions of the action playing out on-screen.

While it lacks some of the finesse and sophistication of other Hitchcock classics, Stage Fright is an entertaining, quirky, character-driven piece that I'm happy to have finally discovered. If you're a fan of Hitchcock's work - especially if you enjoy the "lighter" films like To Catch a Thief or The Trouble with Harry, this is a diverting little gem that is worth checking out, probably moreso because if my experience is any indication, it's been sadly overlooked!

Purchase Stage Fright on DVD.

Other Hitchcock films I've reviewed:

• Spellbound
• Rear Window
• North by Northwest
• Dial M for Murder

Glorious 39

I have a feeling that Glorious 39 is either a movie people like or they can't stand. It's not a film that delivers easy, clear answers and closure - and it's not without its flaws. But personally, I found it to be enormously thought-provoking, a gripping and thoroughly absorbing piece of cinema. I'm SO glad it finally released on DVD! I had completely forgotten about it - it's been about three years since I saw trailers break online, and I hoped (vainly, as it turns out) that the film would see a limited release in my area since it features a memorable performance by m'darling DAVID TENNANT. Alas, a theatrical viewing was not to be, and it was only by chance that I saw an advertisement announcing the movie's DVD release. On to the story...parts of this review will probably be very spoiler-y since I want to set my thoughts about the film "on paper" as the saying goes. So be warned. :)

The film opens in the present day, with young Michael (Toby Regbo) visiting some distant cousins, brothers Walter (Christopher Lee) and Oliver (Corin Redgrave). Walter and Oliver seem uneasy with Michael's visit, especially when he asks about what really happened to his mysterious great aunt Anne Keyes, who disappeared during the war. Bu any uneasiness Walter and Oliver may feel with their young cousin digging up the past is quickly overshadowed by Walter's desire for an audience and the chance to revisit that glorious summer of 1939, before the outbreak of World War II changed everything. The tagline of this film is "you can't always run from the past," and we see the older Walter discover this to be true as his complicity in the events surrounding Anne's fall from the family's grace is revealed.

I absolutely love the look of the film as it begins to take us into the flashback. The family estate, the setting for so much heartbreak, is gorgeously rendered on-screen. Everything appears sublimely idyllic in the lives of the Keyes family - yes, conflict is on the horizon with Hitler's aggression in Europe, but what could that possibly have to do with their lives so far away, so secluded and removed from the hustle and bustle of London and political drama. Oldest adopted daughter Anne (Romola Garai) and her brother Ralph (Eddie Redmayne) and sister Celia (Juno Temple) appear to be as close as one could wish, dashing among the ruins, privileged and without a care in the world - until they are brought short by the image of a burial. The stark contrast to their carefree play is only a hint of the shadows that will soon overcome this privileged family.

Anne has invited two friends to the family home to help celebrate her beloved father's birthday - Sir Alexander Keyes (Bill Nighy), a World War I hero and a respected Member of Parliament. Hector Haldane (David Tennant), also an MP, is just a friend, while Lawrence (Charlie Cox) is a lover yet to be introduced to the family. Alexander brings an unexpected guest home with him, Balcombe (Jeremy Northam), an unsettlingly quiet and reserved government employee. Over the birthday dinner, Hector becomes quite outspoken about his fervent belief that Hitler must be stopped and that the current government's policy of appeasement is not only not working but dangerous, because "evil has to be stood up to." A bit of an aside - it's absolutely fantastic to see Tennant in his role with his Scottish accent. Excuse me while I swoon. And Tennant's scenes are even more swoon-worthy given his character's passionate stance against Hitler and the the threat of appeasement. Hector is a character who was determined to make a stand, and I loved that.

Shortly after the birthday dinner, Anne ventures into her father's previously forbidden outbuildings on the estate in search of a lost cat. There she discovers records, labeled as fox trots or popular songs, that don't contain music but instead are recordings of meetings - meetings she thinks little of until her friend Hector is found dead of an apparent suicide. Anne conjectures that the mysterious Balcombe could have something to do with Hector's death - she's wary of the recordings and everyone's reticence to explain the true nature of Balcombe's government work. As the stress of the mystery of the recordings and Hector's death mounts, Anne finds herself under fire as her own well-being and mental acuity are called into question.

I think I'll stop there, because this film is a journey worth experiencing yourself - if I've succeeded in hooking your interest. :) Let's talk about the construction of the film itself and some of the performances. Glorious 39 is written and directed by Stephen Poliakoff. I confess to being unfamiliar with his work save for the Masterpiece production The Lost Prince. Despite some hiccups in tone and editing, Glorious 39 is a carefully constructed film, each scene increasing the tension and suspense factor exponentially. In some respects it is reminiscent of an Alfred Hitchcock film (note I'm not saying it's on that level, just similar!) - for the most part, the suspense comes from really well layed-out and gradually increasing psychological tension, not gore or scenes that only have "shock" value (this holds true until the last fourth of the film anyway).

I'm a pretty big fan of Romola Garai's work - ever since her appearance in 2002's Daniel Deronda she's continued to grow and mature as an actress, and her latest Masterpiece appearance in Emma is one of my favorites. I happened upon this review of Glorious 39 which likens Garai's performance as Anne to Ingrid Bergman in a Hitchcock picture, and the more I mull over that comparison the more I find that I agree with it. Anne possesses the same balance of wide-eyed innocence and strength that Bergman projected in films like Spellbound or Notorious (especially the latter IMO). And though it's not a Hitchcock picture, the psychological terror brought to bear against Anne, and her reaction to it, reminds me of the terrorized wife Bergman plays in Gaslight. The final act of Glorious 39 takes a marked turn towards the melodramatic that I think will be off-putting to some viewers. It calls into question the veracity of some of the events we've seen play out to that point, but the tone and direction worked for me.

Glorious 39 skates a delicate balance between taut psychological thriller and melodrama, and while I wouldn't say it manages that balance perfectly the end product worked for me. It seems only natural to me that the continued strain placed upon Anne by the events of the film would bring her to the point of a psychological breakdown. I think that's why the last fourth of the film takes on an almost unreal aspect when Anne visits the country vet in order to put the family pets to sleep. My take on the scene where Anne enters the barn filled with animal corpses waiting to be burned is that its some sort of comment on how the coming war will consume even the most innocents wholly and completely. I don't think it's a comment on the Holocaust, as the emotional impact of the scene feels more generic and broadly directed to me.

Poliakoff has crafted a film that addresses reality vs. imagination, truth vs. fiction, and trust vs. lies. As privileged members of the British aristocracy in the 1930s, Anne's family was wholly invested in maintaining the status quo at all costs. The lengths they are willing to go to in order to accomplish their aims are positively chilling, and may leave you pondering - as it did me - just how you might have reacted were you unfortunate enough to find yourself in Anne's situation. I think if the film hadn't made quite so sharp a turn towards over-the-top melodrama in the final act that the resulting movie would have been tighter and more focused.

If you're interested in this film but concerned about the R rating, that is mainly for the way psychological tension builds throughout the movie. When the deaths are involved there is some blood but the scenes are not overly graphic. The one "almost" love scene where Charlie Cox's backside is revealed is completely unnecessary. Romola Garai drops several f-bombs toward the movie's finale, which are quite jarring given her almost genteel on-screen presence, but in the context of the story and what Anne has endured you may find it understandable.

A few quick additional acting shout-outs...I just love Bill Nighy and he was spectacular as Anne's father. His calm, solicitous demeanor throughout the film is positively chilling. You can totally understand how hard it would be for Anne to come to terms with this, for all appearances kind and loving man, being involved in an appeasement effort that advocates the violent intimidation and silencing of protesters. I also love Jeremy Northam, and have to give him kudos for playing against the more heroic, gentleman-like type of role I'm more accustomed to seeing him play in period films. It was a real treat to see Julie Christie as Anne's Aunt Elizabeth - Christie just oozes class, and though her complicity in the plot to "teach Anne a lesson" is never directly addressed, her laser like focus on frivolous matters stands in stark contrast to the dark events on the horizon with the advent of war. Hugh Bonneville gives a great turn as Anne's actor friend Gilbert, whose life is also sacrificed for discovering too much about the appeasors' activities.

Since I love film music, I have to mention composer Adrian Johnston provides the film's gorgeous score (he worked on Becoming Jane). And in addition to Poliakoff's work as writer and director, I have to give credit to the editors and cinematographers that worked on Glorious 39 - the editing in this film is, for the most part, so good at never letting up on the tension and suspense! And the look of the film, from the settings to the costumes is simply sumptuous. The stark dichotomy between the outward beauty of the Keyes family's lives and the inward corruption is really well played out. If you liked Atonement, I think you'd enjoy Glorious 39. Both films are similarly thought-provoking stories that address questions of truth and honor without providing pat or easy answers.

And finally, if you actually made it through this review, thanks. I know it's a long one. :) If you've seen Glorious 39 I'd love to discuss - it's been a couple of days since I watched it and I feel like I'm still processing it in many respects!

The 39 Steps

A couple of weeks ago now, Masterpiece Classic aired the newest adaptation of The 39 Steps, based on the novel by John Buchan. Here's a bit about the storyline from the PBS website:

"A prehistoric boor and an unhinged hysteric. Hardly a marriage made in heaven." Richard Hannay and Victoria Sinclair in The 39 Steps

Newly returned to England on the eve of World War I, Richard Hannay's (Rupert Penry-Jones, Persuasion) listless London life is about to spiral out of control. When a neighbor bursts in with a top-secret notebook full of cryptic codes and a frantic story of an impending assassination, unlikely patriot Hannay is soon on the run to save himself and his country. He bumps into feisty suffragette Victoria Sinclair (Lydia Leonard), and while their fates may be intertwined, their personalities aren't. But like it or not, they'll together navigate murder, betrayal and near death in order to untangle a plot of national importance, and understand the charms and challenges of human nature. A bracing and romantic thriller, The 39 Steps is based on the novel by John Buchan.

Now, I've yet to read Buchan's novel, and I have only the vaguest memories of seeing what is perhaps the most famous film adaptation of this story - the 1935 Alfred Hitchcock film starring Robert Donat and Madeleine Carroll. In general being a fan of Hitchcock's work, I remember enjoying it, but that's about it. That said, I feel like I was able to come to this film with no expectations - and I thoroughly and completely enjoyed it. First of all, as far as Masterpiece and British film in general goes, it's got a unique and fresh setting - it's quite rare (in my experience, anyway) to find films set during the World War I years. Everything from the history to the clothes and sets is feels fresh and makes for absorbing viewing.

Of course it's hard to argue against Rupert Penry-Jones being the film's biggest draw. Anyone who has read my review of Persuasion can probably guess that I'm a fan. :) I think you'd be hard-pressed to find an actor more suitable to play Richard Hannay and make the transformation from languid, bored aristocrat who is pushed quite unwillingly into the high stakes world of international espionage. It would almost be enough that RPJ wheres a tux for a good part of the film, and I don't think I can even begin to talk about the shirtless scene halfway through the movie without starting to drool and mumble incoherently. That was a gift, thank you BBC. ;-) But in addition to all that, RPJ reveals quite a knack for light comedy. Had no idea he had that in him after seeing his much more serious turns in Persuasion and MI-5. Rupert can be quite funny given the right material, and has a real gift for sarcasm and understatement. Very, very well played. Yet another random side note - I loved the scene where Hannay pulls a Cary Grant and runs from the plane trying to shoot him down in the field. That scene just defines another Hitchcock classic, North by Northwest, and anything that reminds me of that favorite is a good thing in my book. :)

Hannay's love interest in the film is Victoria Sinclair, a fiesty suffragette played by Lydia Leonard. Previously, Leonard has appeared in one episode of Foyle's War and played a Angela in one of my all-time favorite mystery shows, Jericho. It's my understanding that there is no love interest for Hannay in the book, and that one's always been created in the film versions. I absolutely loved Victoria's character, and watching her spar with Richard provided scene after scene of laugh-out-loud moments. Their relationship is a case of the battle of the sexes and opposites attracting at its finest. In Victoria it's great to see such a strong-willed, fearless character. RPJ and Leonard have some excellent on-screen chemistry, and I loved watching the relationship develop between their characters and they sought to outwit German spies (apparently given free reign in Scotland, haha).

There are several other notable cast members worth mentioning. First of all let's talk about Scudder, the spy who gets Hannay into this life-or-death mess. Scudder is played by Eddie Marsan, who's become quite fixture in films mentioned on this blog - he's appeared in Little Dorrit, Me and Orson Welles, and Sherlock Holmes, to name a few of his recent credits. There's something about his face and manner that allow him to play the desperate secret agent quite well. David Haig is another familiar face - he plays Sir George Sinclair, Victoria's uncle. Haig has appeared in everything from Marple to Two Weeks Notice. Patrick Kennedy plays Hellory, Victoria's brother - he also appeared in Me and Orson Welles, as well as Bleak House and Atonement. Kennedy is quite funny in his role - he's so spacey and vapid compared to his razor-sharp sister, the differences between them are hilarious.There's a couple more familiar faces, but I'll end by mentioning Alex Jennings' appearance. Jennings plays the elusive Captain Kell, the secret service contact Scudder wants Hannay to pass his encrypted notebook on to. Jennings was most recently seen in Cranford as Reverend Hutton.

Aside from the hilariously random, tacked on ending which I'll talk about in a minute, I really loved everything about this film. James Hawes directed this film, and combined with a solid script he keeps the pace of the film flying - there's nary a dull moment in the movie's short 85-minute run time. The way this film is structured and the story unfolds, I was hooked from the first scene. As a random point of interest, Hawes has apparently also directed several Doctor Who and Merlin episodes. He's got a good handle on making some of my favorite television programs, no? :) I also really liked Rob Lane's score (Lane has also scored Merlin). It's got an old-fashioned, adventure movie feel to it which fits perfectly with the storyline.

I love a good adventure/spy flick, and The 39 Steps fits the bill perfectly. But seriously, what is with the randomly tacked on happy ending?? (Possible spoilers...) So RPJ delivers this adorable speech about wooing Victoria, and then she's shot by the random German agent everyone seems to have forgotten about, falls into the lake, and magically survives to see Hannay off to war several months later?! NO ONE was around to pull her out so how the heck did that happen?! Getting shot and then having to pretend to drown is some national secret? And seriously, we're supposed to cling to the hope that Hannay somehow survives the trenches to reunite with Victoria after the war...hmmm...I hate that the cynic in me is surfacing here, but he's going off at the beginning of the conflict. Odds are not good for poor Hannay. *sob* I am a total and complete sucker for happy endings, but compared to the rest of the movie the way the Victoria thing is resolved was more than a little lame. But considering everything else this movie has going for it - Rupert Penry-Jones, fabulous settings, great costumes, a life-and-death car chase in Model-Ts, Rupert Penry-Jones, brisk direction, wonderful music, and did I mention Rupert Penry-Jones? :) - The 39 Steps is a thoroughly entertaining, unique entry in the Masterpiece Classic schedule. Highly recommended.

And just because, here's another picture of RPJ...go ahead and swoon, I'm right there with ya... ;-)

The 39 Steps - premiering tomorrow on Masterpiece!

Tomorrow Masterpiece will be airing a new adaptation of John Buchan's novel, The 39 Steps. This story was previously brought to life by master filmmaker Alfred Hitchcock in 1935. This version stars one of my favorites, Rupert Penry-Jones (*swoon*). :) Here's a bit about the story:

Richard Hannay's pre World War I listless life in London is spiraling out of control. Armed with a secret notebook, Hannay is on the run to save himself and his country. Along with feisty suffragette Victoria Sinclair, the two face betrayal and near death. Starring Rupert Penry-Jones and Lydia Leonard, this bracing and romantic thriller is based on the novel by John Buchan.

Masterpiece Classic 2010 Schedule

Oh happy day. :) The Masterpiece Classic schedule was released today, and all things considered I have to say I'm quite pleased and excited by the line up. Take a look:

December 20, 2009-January 3, 2010, 9pm
Cranford (Encore Presentation)
Three episodes (Episode one 120 minutes; episode two 60 minutes; episode three 120 minutes)
The Emmy-nominated drama about a small English village in 1842 on the brink of change — where some find romance and opportunity, and others fear the breakdown of social order.

January 10-17, 2010, 9pm
Return to Cranford
(Two 90-minute episodes)
The construction of a new railroad line is at once thrilling and threatening to the residents of Cranford. This sequel stars Judi Dench, Imelda Staunton and Julia McKenzie. New faces include Jonathan Pryce and Tim Curry.

January 24-February 7, 2010, 9pm
Emma
Three episodes (Episode one 120 minutes; episodes two and three 60 minutes)
A new adaptation of Jane Austen's comic tale of a headstrong young woman's failed matchmaking schemes. Starring Romola Garai, Michael Gambon and Jonny Lee Miller.

February 14, 2010, 9pm
Northanger Abbey (Encore Presentation)
One 90-minute episode
In a medieval house that appeals to her most lurid fantasies, romance addict Catherine Moreland (Felicity Jones) begins a relationship with the younger son of the estate in this adaptation of the Jane Austen novel.

February 21, 2010, 9pm
Persuasion (Encore Presentation)
One 90-minute episode
Sally Hawkins plays Jane Austen's Anne Elliot, a woman destined for spinsterhood after refusing a proposal eight years earlier. Then her spurned suitor reappears.

February 28, 2010, 9pm
The 39 Steps
One 90-minute episodeSecret agent Richard Hannay battles German spies on the eve of World War I in a riveting and romantic new version of the thriller by John Buchan. Rupert-Penry Jones (Persuasion) stars as Hannay.

March 28, 2010, 9pm
Sharpe's Challenge
One 120-minute episode
Soldier-adventurer Richard Sharpe comes out of retirement to quash a rebellion in British India. Sean Bean returns as the swashbuckling hero of this series based on Bernard Cornwell's novels. Top Chef's Padma Lakshmi guest stars.

April 4, 2010, 9pm
Sharpe's Peril
One 120-minute episode
The adventures of Colonel Richard Sharpe continue as he leads a ragtag party of civilians and soldiers on a march across India, with the murderous army of an opium lord in hot pursuit.

April 11, 2010, 9pm
The Diary of Anne Frank
One 120-minute episode
The most accurate adaptation of Anne Frank's account of hiding from the Nazis stars newcomer Ellie Kendrick as the maturing teenager undergoing an extraordinary ordeal. The Diary of Anne Frank airs on Holocaust Remembrance Day, 2010.

April 18-25, 2010, 9pm
Small Island
Two 90-minute episodes
When an ambitious Jamaican woman moves to gritty post-war London, she finds that the "Mother Country" is not the land of opportunity she had imagined. Starring Naomie Harries, Ruth Wilson and Benedict Cumberbatch.

You can watch a short preview of the new season here.

I realize I've already mentioned once or twice (HA!) that I'm looking forward to Return to Cranford and the new Emma (seriously, can not WAIT to see Jonny Lee Miller as Mr. Knightley!). If you've never seen the first Cranford miniseries, be sure to take advantage of the encore presentation in a few weeks if it airs in your market.

I could've lived without the other Jane Austen encores, because 1) I have the DVDs and 2) I have an insatiable hunger for new British programs, but if you've never seen them they're definitely worth checking out. On the other hand, I'm positively thrilled at the inclusion of two World War II-era programs. I'm REALLY looking forward to checking out the new version of The 39 Steps starring the yummy Rupert Penry-Jones (if you've never seen the classic Alfred Hitchcock film version of this story, I have to recommend it as well - though my guess is TCM will probably schedule a showing around the time this new version debuts on PBS), and I vaguely recall hearing some pretty good things about the new version of the Anne Frank story. The Sharpe movies can be diverting, but frankly this is like Sean Bean's 500 millionth turn as Sharpe and he (and the series) is getting a little long in the tooth IMO. But whatever, like I said, will most likely be entertaining in some respect, if only to try and spot other British talent in guest star spots. However, I've got to end by saying I'm really looking forward to the final program of the season, Small Island. I read a bit about it a couple of months ago at the BBC press office, and the story sounds fascinating, and you can't beat the cast - Benedict Cumberbatch, Ruth Wilson, and Naomie Harris.

All in all, this is a season not to be missed, and you can be sure that it will be well blogged about here. :)

Summer of Hitchcock: Spellbound

This week's entry in My Friend Amy's Summer of Hitchcock film festival is the 1945 psychological thriller Spellbound, starring Ingrid Bergman and Gregory Peck. It's been several years since I've made time to watch this film, so I feel like I was able to approach it with fairly fresh perspective this time around. Spellbound was meant to capitalize on the public's newfound fascination with psychoanalysis, a fact the filmmakers make abundantly clear by a proclamation on the screen before the film even starts, extolling the virtues of psychoanalysis in healing the disturbances of sane minds.

A bit about the story...

Ingrid Bergman plays Dr. Constance Peterson, who works at a mental hospital called Green Manors. (Seriously, why do asylums in movies always have words like "green" or "manors" in their names? It cracks me up...) She is completely devoted to her work, until the new head doctor, Anthony Edwardes, arrives - played by a positively yummy Gregory Peck in only his fourth film role. The two are, of course, instantly attracted to each other - you can almost see the sparks fly when they first meet - and wonder of wonders, Constance the ice queen begins to thaw. But Dr. Edwardes' strange behavior jeopardizes Constance's newfound romance he has this strange, almost violent aversion to parallel lines, and then a breakdown in the hospital operating room follows, raising the suspicions of the entire staff. Edwardes is not who he claims to be, and Constance must use all of her skill to discover whether or not he's a victim or - perish the thought! - the perpetrator of the crime that's tormenting his mind.

I don't think Spellbound has stood the test fo time quite as well as some of Hitchcock's other efforts (such as Rear Window). Admittedly I am the last person who could accurately judge the psychology as its presented on-screen, but I'll go out on a limb here and say the methods come off as a little dated. Plus there's the rather bipolar style of the film. On one hand you have scenes (such as when Constance and Edwardes ditch work and go for a picnic lunch) that are filmed in a highly romanticized style, very much like "women's pictures" of the time period (think Dark Victory or Now, Voyager), with soft focus lenswork and swelling, romantic music. Miklos Rozsa's score is undeniably beautiful, but more often than not it feels out of place and distracting within this film. And then you have the sharp, tense clarity of the Salvador Dali-designed dream sequence. I've never been one to gravitate towards surrealist art, but the sequences are undeniably striking, particularly in how they treatment of those scenes differs from the rest of the picture.

All that aside, the main reason I still enjoy this film is Gregory Peck and Ingrid Bergman's off-the-charts chemistry. As Tasha points out in her review of Spellbound, it's a surprisingly sexy movie, especially considering it was made over 60 years ago! Maybe it was the Freudian references that let the double entendres get by the censors, LOL! ;-) One of my favorite scenes is when Constance visits Anthony's rooms in the middle of the freaking night, wakes him up and makes some lame excuse about wanting to read his book on the guilt complex. Then they kiss - and really, it's a great screen kiss - but Hitchcock had to cut away to a scene of all the "locked doors" in Constance's mind blowing wide open. That scene cracks me up every time I see it, it's so delightfully random by today's standards. Any cheesiness aside, I just love watching Bergman and Peck together on-screen. Peck still had a real boyish charm to his good looks that would only become more rugged and defined over time, and Bergman positively glows - the camera just loves her here. Some of their scenes together are still a bit swoon-worthy. :)

The Spellbound DVD is chock-full of interesting special features that (since I bothered to watch them, HA!!) really enhanced my appreciation of the film. "Dreaming with Scissors: Hitchcock, Surrealism, and Salvador Dali" delves into the making of the dream sequence (for example, the original sequence was about 20 minutes long, but was deemed "too disturbing" for the final cut), and the touches on some of the trouble Hitchcock had with producer David Selznick of over this project. The "Guilt By Association: Psychoanalyzing Spellbound" featurette gives some really interesting context to this project in terms of just how ground breaking the subject matter was back in 1945. Widespread public interest in psychoanalysis stemmed from (at least in part) soldiers returning from war with post-traumatic stress disorder (as its now known) and how they were treated. Fascinating stuff! There's also a short featurette on Rhonda Fleming ("A Cinderella Story"), giving her perspective on the film and her start in Hollywood (Spellbound was her first credited role). I rolled with laughter when she talked about being assigned the part of the nymphomaniac patient seen at the beginning of the film - only since she & her mother didn't know what a nymphomaniac was, they had to look it up. Her mother was relieved to discover that the studio wasn't typecasting her daughter (LOL!!). ;-)

While Spellbound may be a bit dated, especially when compared to some of Hitchcock's other films, it's still worthy viewing - particularly as a document of the time, and first and foremost for Gregory Peck and Ingrid Bergman's fantastic love story. :)

Summer of Hitchcock: Rear Window

Spoilers…

Rear Window is not only one of my favorite Hitchcock films, it’s one of my favorite films, period. It’s also the third film up for discussion in My Friend Amy’s Summer of Hitchcock. A bit about the story…

James Stewart plays magazine photographer L.B. “Jeff” Jeffries, sidelined to a wheelchair for several long, boring, HOT weeks thanks to a broken leg. Out of sheer boredom, he takes to “observing” his neighbors, getting to know them through the glimpses of their lives afforded through their apartment windows. His high society girlfriend Lisa (Grace Kelly), best friend police detective Thomas Doyle (Wendell Corey), and nurse/physical therapist Stella (Thelma Ritter) are all exasperated with his voyeuristic pastime. All that changes when Jeff discovers that the nagging, invalid wife of a salesman living across the way has suddenly disappeared. The more Jeff sees, the more he becomes convinced that he’s discovered a murder – but how can he possibly prove it from the solitary, limited vantage point of his living room window?

I have a very distinct memory of the first time I watched Rear Window – AMC aired the film 2 or 3 times after it was remastered several years ago (perhaps around 2000?). I was sitting on my parents’ sofa and I watched the film all the way through twice in a row. I was thoroughly absorbed by the story and fascinated by the sheer amount of storytelling and information that Hitchcock crammed into each frame of film. The first time I watched the movie, you focus on Jeff, Lisa, and the murder. The second time, though, I allowed myself to focus on each of the “mini movies” playing out in the apartment windows within Jeff’s view. Those little “slice of life” vignettes are one of my favorite aspects of the film. I especially love how “Ms. Lonelyhearts” goes through some wrenching experiences but eventually finds happiness with the Songwriter. It’s the romantic in me, I know. :)

I love, love, love James Stewart and Grace Kelly in this film. Their chemistry is – surprisingly – off the charts. Their banter as they work through their relationship issues, over Jeff’s penchant for traveling and dangerous jobs, her image as a “fragile” high society flower, is both hilarious and tons of fun to watch. Stewart is absolutely fantastic in this picture. He’s a lot edgier than what you get in his sweeter (I need a better word, only one I can come up with at the moment), more “wholesome,” all-American roles (think Harvey or Mr. Hobbs Takes a Vacation). Grace Kelly is absolutely terrific as Stewart’s foil. Her looks and poise make it abundantly clear that she was born to privilege, but she balances that out with a ton of humor and outright spunk. I love how she refuses to give up on Jeff and she’s more than game for the challenge of catching the bad guy, and so much the better if she gets it through Jeff’s thick head that she’s more than just fancy society window-dressing.

The supporting cast is tremendous, particularly Thelma Ritter as Stella. She’s funny, sarcastic, and completely fearless when it comes to speaking her mind. I also enjoy seeing Wendell Corey make an appearance as Jeff’s friend Thomas – he is always a solid character actor, and he gets extra points for appearing in another one of my favorite films, Holiday Affair. Perhaps the biggest casting shock is Raymond Burr as the villain, Lars Thorwald. It’s quite jarring to realize that the man playing this cold-blooded, creepy killer is best known as the paragon of justice & virtue that is Perry Mason. Underrated actor, no?

I’m so glad for the excuse to view Rear Window again and blog about it. Grace Kelly embodies all the wit, charm, and sophistication you could wish for – with backbone to boot! – and James Stewart is funny, humorous, and endearing as our scruffy voyeur. I do wonder, though, what Hitchcock would think of society today. Rear Window still provides food for thought on society’s penchant for voyeurism, how far is too far, etc. With the explosion of the 24-hour news cycle, growing penchant for a “cult of celebrity,” and social networking on the internet, voyeurism has come a long way since 1954. Or is it more accurate to say that the more things change, the more things stay the same – people and their motives haven’t changed, just the voyeuristic methods? All that aside, the one thing Rear Window guarantees is a thoroughly absorbing, fascinating viewing experience. It's a movie I never get tired of watching. The movie is available in single disc and double disc DVD editions (I recommend the latter, the 2nd disc is loaded with tons of special features).

Summer of Hitchcock: North by Northwest

Spoilers...

North by Northwest was the first film up for viewing as part of My Friend Amy's Summer of Hitchcock. I have no idea what I was thinking in yesterday's post on Dial M for Murder, when I stated that film was in my top five Hitchcock favorites - top ten, certainly, but not top five. That honor belongs to the likes of North by Northwest. It's one of those films that feels very nearly perfect to me - perfect cast, perfect direction, perfect script. Hitchcock caught lightning in a bottle back in 1959 with this jewel of a film that's held up remarkably well in the ensuing decades.

A bit about the story...

Cary Grant plays successful advertising executive Roger Thornhill in this his fourth and final Hitchcock film (following Suspicion, Notorious, and To Catch a Thief). He's plunged into the world of international espionage when foreign agents mistake him for government agent George Kaplan. Soon he's being kidnapped, framed for murder, chased, crop-dusted, and forced on the run, taking on a job he never sought out trying to outwit and outlast the bad guys.

Cary Grant is at his most debonair as the embattled Roger Thornhill. Grant just oozes class, even when his life is on the line. I love it when he first meets Eve Kendall (Eva Marie Saint), the undercover spy "forced" to seduce him when they meet on the train to Chicago. Their exchange about his "nice face" - like Grant's looks are anything but extraordinary, LOL - makes me smile every time I watch the scene. And yes, the seduction/kissing scene is unbelievably long - but you've got to give Hitchcock credit for the rather inventive ways he implies passion in his films rather than showing a lot of skin (which he couldn't have done due to the production code, anyway). A while back I read somewhere that Grace Kelly was one of Hitchcock's favorite leading ladies, and if she hadn't married Prince Rainer of Monaco in 1956 I have no doubt she would've been a strong contender, if not the 1st choice, to play the Eve Kendall role.

James Mason and Martin Landau both turn in excellent performances as the villains of the piece - Mason as the coldly calculating mastermind Philip Vandamm (sounds like a James Bond villian IMO) and Landau as his stooge in Leonard. I've never had a problem buying Mason as a creepy bad guy, but Landau's performance is always a bit jarring for me to view. I tend to view him as a kindly grandfather-type, like his turn in The Majestic. I also love Jessie Royce Landis's performance as Cary Grant's mother - though in real life she was too young to play Grant's mother, the two play off each other so well their scenes never fail to crack me up. And though he's only in one scene, I love the fact that Edward Platt as a small role as Grant's lawyer. There's a Get Smart episode, if memory serves, that echoes how Roger Thornhill gets sucked into the world of espionage. It's a tenuous connection, I know, but hey that's how my mind works - randomly! ;-)

For me North by Northwest is the perfect balance of suspense, action, humor, and romance. There's something incredibly scary about the idea of being lost in a life-threatening plot where your whole identity means absolutely nothing because everyone else is convinced you're someone you're not. Roger Thornhill's journey is an interesting one. As an advertising exec he's the king of fakes and sleight-of-hand, and he is sent on this journey quite unwillingly where he must shed self-absorption and put his life on the line for others. A far cry from the posh executive's life he's been used to leading!

Three other points - one, this movie sort of makes me wish train travel was still the norm, and two, I wish the Mt. Rushmore set piece didn't look so horribly fake. Oh well, can't have everything, can we? *sigh* Which leads me to point three - I think the crop-duster scene totally makes up for the cheesiness of Mt. Rushmore being all styro-foamy. ;-)

Currently North by Northwest is only available as part of the Alfred Hitchcock Signature Collection. However, if you can track down a DVD copy it's so worth adding to your collection IMO! One of the special features is a featurette hosted by Eva Marie Saint entitled "The Making of North by Northwest" which is a nice, informative look at the making of the film.

Summer of Hitchcock: Dial M for Murder

Spoilers...

I’m two weeks late to joining My Friend Amy’s Summer of Hitchcock blogging extravaganza, but I am finally getting the chance to catch up. I’ve needed a good excuse to re-watch some of my favorite Hitchcock films. Last week’s move was Dial M for Murder, starring Grace Kelly, Ray Milland, and Robert Cummings. Dial M has always been one of my favorite Hitchcock films – off hand I’d say it’s solidly in my personal top five. It’s been several years since I’ve watched this movie, so while I remembered the basic storyline the presentation and details all felt very “fresh” to me.

First off, a bit about the story…

Margot (Grace Kelly) is married to washed-up former tennis player Tony Wendice (Ray Milland), and has been having an on-again, off-again affair with crime novelist Mark Halliday (Robert Cummings). She’s burned all of Mark’s letters but one, and that one was stolen several months back. There were blackmail threats, but the promised threat of revealing her indiscretion to her husband never materialized. Little does she realize that Tony is the blackmailer, and he’s been plotting the perfect murder to get his hands on her money. Let the game of cat-and-mouse begin…

This movie is based on a play by a Frederick Knott, and it shows – but that’s not necessarily a bad thing. Yes, the movie feels staged, but the performances are terrific across the board and action is so tightly plotted that the “stagey” aspect of the movie works really well. There’s an absorbing amount of drama going on at the Wendice apartment. I would love to see this story on stage! I also have to comment on how I love the use of color in this movie. Between the richness of the color and the smartly paced action, the movie feels reminiscent of the drawing room style mysteries Agatha Christie plotted so well.

I’d forgotten that this movie was originally filmed in 3-D. Generally speaking I’m not a fan of watching movies in 3-D, watching programs in 3-D always seem to give me a headache. However, since I was reminded of the 3-D technology used when filming the movie, I was very conscious of how each frame of film was presented. Hitchcock was very deliberate about filming in “layers,” so to speak. There are certain moments – especially when Tony’s stooge, Swann (Anthony Dawson) is trying to kill Margot and her hand just reaches out in desperation from the screen to grab something, anything in an attempt to defend herself – and finds a handy pair of scissors. (Death by scissors is surprisingly neat…just sayin’…) Thankfully this movie is filmed so well that you aren’t distracted by the 3-D formatting, or lack thereof when watching it in “flatscreen.”

Since there are really only three players in this drama (four if you count Inspector Hubbard played by John Williams), the movie wouldn’t work nearly as well as it does if any one of their performances faltered. In my opinion Grace Kelly did some of her best work in the three Hitchcock films she appeared in, Dial M being the first (followed by Rear Window and To Catch a Thief). Her opening scene sets the stage – wearing white she’s a dutiful, affectionate wife greeting her husband at breakfast, and moments later she’s a passionate cheater looking drop-dead gorgeous in a flaming red gown. She’s a great balance of fire and surprising innocence in this movie - an arresting screen presence that would only grow more powerful in her next two pictures with Hitchcock. On to the husband – it always gives me a start seeing Ray Milland playing this despicable, smarmy role. My first image of Milland was formed by watching his performance in The Major and the Minor, and because that movie is such an old favorite, and he plays such a sweetheart in it, seeing him play a coldly calculating blackmailer feels like a sort of betrayal. LOL! When it comes down to it, I think my strong reaction to this performance is a mark of the quality of Milland’s acting in this film. Of the three leads I have the hardest time taking Robert Cummings seriously – he’s so boyish when compared to Milland that I don’t quite buy him as the third party in an extramarital affair. However, he gains some good guy points when he starts to figure out Tony’s plot. And since Tony was obviously going to kill Margot anyway for her money, Mark proves to be a much better, more sensitive and supportive romantic interest for Margot who goes from being an adulteress to a wrong wife (nice done to satisfy the cultural mores of 1954 BTW). I also have to comment on how much I love John Williams’ performance as the Inspector. He was such a classy actor, and here he manages to imbue the Inspector with just the right balance of smarts, saavy intuition, and humor.

I’m so glad I got a chance to revisit this classic. You can purchase the DVD of Dial M for Murder here. It comes with two short, but interesting featurettes: “Hitchcock and Dial M” and “3D: A Brief History.”