Alfred Hitchcock (1899–1980)

“But your wife, she'll wonder what happened to her poor little General.” — Peter Lorre to John Gielgud

This most enjoyable film made in Britain before Hitchcock came to Hollywood certainly deserves more accolades than it has gotten over the years. It really isn't that far behind 39 Steps, The Lady Vanishes, and Young and Innocent in either quality or entertainment. Set during the first world war, Somerset Maugham’s novel of spies sent to ferret out and eliminate another spy has show more romance and humor, and some real excitement in Hitchcock’s hands.

John Gielgud comes home from the war and discovers he’s been reported dead. He discovers it was intentional; his cover so he can become Ashenden, and eliminate a very dangerous spy causing the good guys a lot of trouble. While it’s deadly serious business, it gets a bit more pleasant when he discovers in Switzerland that the beautiful and elegant Elsa Carrington (Madeleine Carroll) is to pose as his wife and help him in his mission.

Hitchcock counters the more serious business with a likable Robert Young as Marvin, pursuing romance with Elsa despite her marital status. It is handled with great charm and a sense of fun. Ashenden’s other partner is General, played in an over-the-top manner by Peter Lorre. He is more comical than sinister, spending most of his time trying to romance anything in a dress, and quite upset that Ashenden has the fake wife while he has none.

Elsa falls for her pretend husband, of course, and the General’s actions brings about a crisis of conscience occurs for both she and Ashenden. But when Ashenden and General discover who the real spy is, and must pursue him because of the great danger someone is in. The train station scene and everything that follows is classic Hitchcock. While it doesn’t have quite the tension of 39 Steps, or the sheer charm of Young and Innocent, it has a blend of the two which is very enjoyable.

Perhaps because it is set during WW I it doesn't connect as much as it should for some viewers. It is quite fabulous in its own way, however, and fans of Hitchcock’s early British films will certainly find it appealing. Fans of the lovely Madeleine Carroll will be pleased to discover she is much more in the center of things from the very beginning than in 39 Steps. A real winner. show less

Alfred Hitchcock Presents: Stories for Late at Night is one of a number of 'Alfred Hitchcock Presents' short story anthologies that came out in the sixties. Like the show they were named after, these books would have stories by then current luminaries in the mystery and weird fiction field. In this book, the focus is more on creating an eerie mood or suspenseful situation than setting up mysteries for the reader to puzzle out.

There are suspense stories along with supernatural horror and some show more that don't fit any other category than Weird Tales. While there were a few duds (unfortunately the very first story is one of them), I get the feeling that some of my favorites would be others' flops and vice-versa. I guess what I'm trying to say is that none of the stories (even ones I didn't care for) felt like filler.

Also, at an average of twelve to fifteen pages, they were just long enough to read right before bedtime (though there are two forty-ish page novellas and a one hundred and fifty page novel included in the mix). The book contains no obvious gore. Like the show and Alfred Hitchcock's movies, what violence there is occurs 'off screen' for the most part, so if you do read a story before going to sleep, at least you won't have nightmares.

There were a number of 'big names' represented (Ray Bradbury, John Collier, C.L. Moore), but I found a number of my favorite stories were from authors I was unfamiliar with (Jerome Bixby's "It's a Good Life", Will F. Jenkins' "Side Bet" and Philip MacDonald's "Our Feathered Friends"). The stories from famous authors weren't sub-par though. Ray Bradbury's "The Whole Town is Sleeping" is probably the creepiest story in the book and Henry Slesar's "A Cry From the Penthouse" is an excellent little thriller that reminded me of Stephen King's "The Ledge" (though "A Cry From the Penthouse" is the older story).

It is an EXCELLENT collection, well worth the read, though I'm not sure of the wisdom of putting the 150 page novel The Iron Gates at the end. After all the shorts, it's weird to cap the book off with the longest tale. However, the novel was enjoyable and though it is the closest to being a traditional mystery, it still fit with the tone of the rest of the book.

Many of the books in this series began with an introduction by Alfred himself. This one didn’t. I wish it would have. I loved the collection as it was, but a word from Hitch would have just been the cherry on top.

Regardless, I enjoyed this collection immensely and have already ordered Alfred Hitchcock Presents: Stories That Scared Even Me and Alfred Hitchcock Presents: Stories Not For The Nervous. show less

“Last night I dreamt I went to Manderly again….”

Joan Fontaine is captivating in Hitchcock’s beautifully realized romantic drama of a new wife competing with a memory so strong it hangs like a shadow over every facet of her existence. Robert E. Sherwood and Joan Harrison crafted a riveting screenplay from Michael Hogan and Scottish mystery writer Phillip MacDonald’s adaptation of Daphne Du Maurier’s now classic tale of dark romance.

Franz Waxman’s lovely score and George show more Barnes’ lushly photographed scenes frame David O. Selznick’s stellar production like a mist forming on the grounds of Manderly. A wonderful cast of screen veterans make this very long film a mesmerizing drama from which you can’t look away.

Olivier gives a strong performance as the dashing yet troubled widower, Maxim, but it is Fontaine as the young and unsure girl overwhelmed by his romantic attentions who stole our hearts and became a film favorite, winning the Academy Award the next year for Hitchcock’s Suspicion.

Fontaine is swept off her feet by the debonair but brooding widower, Maxim. Mousy and shy, there is an endearing charm to her performance in the early portion of the film which has the viewer falling in love with her. It all seems like a dream to her, and Hitchcock uses a rainy windshield to give she and the viewer a snow globe-like first glance at Manderly, further augmenting the story’s dreamlike quality.

Their fairy-tale romance has its darker elements, however, and from her first moments at Manderly she begins to realize that Rebecca, though long-dead, is in many ways still very much alive. She must compete with Rebecca’s figurative ghost at every turn, diminishing her self-confidence. Friends like Reginald Denny and Nigel Bruce cannot offset the twisted loyalty of Maxim’s housekeeper, Miss Danvers (Judith Anderson).

Just when she finds the strength to break free from Rebecca’s memory, a battered boat and startling revelations from Maxim about his marriage turn everything upside down. George Sanders causes much trouble during this phase of the story but the revelations are not as yet fully disclosed; nor is the outcome for Manderly and the couple certain in any way. Fontaine is amazing as she grows up and becomes an anchor for Maxim, finally becoming Mrs. De Winter.

A romantically haunting drama with a tremendously enchanting performance from Joan Fontaine, Rebecca is a cinematic masterpiece and a must-see film. show less

Joan Fontaine was wonderful in this sensitive film about a shy woman who unexpectedly finds love and allows her insecurities to fuel her imagination with suspicion. She easily won the Academy Award for her performance following her fine turn the prior year in Rebecca, for which she sadly did not. Based on a novel by Francis Iles, Hitchcock’s second film starring Fontaine is more about love and the fear of losing it than suspense, but still has enough of his little touches to make it show more enjoyable as both.

Joan Fontaine is the shy but wealthy Lina. Though her head is often buried in books, her heart still beats, and when she is shown a little attention by irresponsible charmer Johnnie Aysgarth (Cary Grant), who calls her monkey-face, she begins to fall in love. When she overhears her family talking about her, the viewer feels her pain. Fontaine is wonderful here — and all throughout this film classic — using subtle movements and expressions to convey the terrible hurt within her heart; and the doubts when the romance and adventure both she and those who know her thought she’d never experience appear to be in the offing. Fontaine is marvelous as she pines for the popular Johnnie to come calling again, until finally a cablegram salvages her pride in front of her skeptical family.

Grant is excellent as the off-beat and fun Johnnie. When Lina finds the courage to tell Johnnie she loves him, he realizes he feels the same and on a rainy night they dash off to get married. Lina begins to see Johnnie in a different light however, after they have tied the knot, when his pal Beaky (Nigel Bruce) comes calling. So used are we at seeing Bruce with Rathbone in Sherlock Homes it takes some getting used to at first to accept him as Johnnie’s pal. Once we do however he puts on a good show as the affable Beaky.

Johnnie’s gambling and irresponsible ways are off-set by his charm, and at first Lina’s faith in him is usually restored at the last moment. But too many things begin to add up, and not in Johnnie’s favor. Debts, theft, a death mirroring events in a mystery book, and a woman’s insecurities are blended to create mounting tension by Hitchcock as the film progresses; until finally, a truly terrible possibility comes into play.

Fontaine is simply enchanting in a tender and subtle performance and Cary Grant gives Johnnie just the right mix of charm and danger. The beautiful romantic score from Franz Waxman was Oscar-nominated. Heather Angel has a nice part as the maid Ethel, and Auriol Lee lends fine support as the mystery-writer friend of Lina. Sherlock Holmes’ Watson, Nigel Bruce, really shines as Johnnie’s likable pal, Beaky, giving a splendid performance. Though Hitchcock’s ending, which differs from the original source, has been disparaged by many fans and critics alike, the sensitive and romantic tone of the film almost demands the ending we get, and that’s all I can say. A very fine romantic film with an underscore of suspense, Suspicion is worth watching for Fontaine’s performance alone. show less