Distributor: Universal Studios
Release Date: July 02, 2013
Region: Region Free
Length: 99 min
Video: 1080P (MPEG-4, AVC)
Main Audio: 2.0 English Mono DTS-HD Master Audio (24bit, 48kHz)
Alternate Audio: 2.0 French Mono DTS (24bit, 48 kHz)
Subtitles: English SDH, Spanish
Notes: This title has had at least two DVD releases and is also available on Blu-ray as part of a boxed set entitled The Masterpiece Collection. The transfer used for the boxed set is the same one that is included here and the disc includes the same special features. The artwork on the actual disc is the only thing different about this release.
“I didn’t change [the novel] very much. To my taste, the humor is quite rich. One of the best lines is when old Edmund Gwenn is dragging the body along for the first time and a woman comes up to him on the hill and says, “What seems to be the trouble, Captain?” To me that’s terribly funny; that’s the spirit of the whole story. I’ve always been interested in establishing a contrast, in going against the traditional and in breaking away from clichés. With Harry, I took melodrama out of the pitch-black night and brought it into the sunshine. It’s if I set up a murder alongside a rustling brook and spilled a drop of blood in the clear water. These contrasts establish a counterpoint; they elevate the commonplace in life to a higher level.” —Alfred Hitchcock
The Trouble With Harry was a very troubled production. Hitchcock decided to shoot the film on location, but the weather never cooperated and the acoustics in the gymnasium (where the sets were built) created unusable sound. The problems seemed to elevate when an overhead bracket supporting the enormous VistaVision camera broke and it came crashing down, nearly crushing the director. The camera merely swiped Hitchcock’s shoulder, but one of the crew members was injured in the incident. When the production fell behind schedule, Hitchcock was forced to move his production back to the more predictable confines of the Hollywood studio.
However, the production wasn’t completely cursed. The film gods were smiling on Hitchcock when it came time to find appropriate talent. The casting of Shirley MacLaine seems to have been divine providence:
“…I would learn to dance and eventually become a chorus girl and understudy to Carol Haney in the Broadway musical, ‘The Pajama Game’ …
Unknown to me, there were two men in the audience of that Pajama Game performance that would change my life forever; Hal Wallis (the Hollywood producer who discovered Dean Martin and Jerry Lewis), and Doc Ericson (a representative for the legendary director, Alfred Hitchcock).
Here I was – a nineteen year old chorus girl, with no acting experience, [and] Hitchcock put me in a room with Mildred Natwick, Edmund Gwenn and John Forsythe. These were the premiere actors on Broadway and now were my co-stars. We were together during the first reading and having no previous experience, I just read it instinctively. When we were finished, Hitch, in his quirky sense of humor, said, ‘You have the guts of a bank robber.’ Because of Hitch’s reputation, I knew I had the job!
I was scared, but curious, and yearned for the learning experience as I joined the film crew in Vermont. I have fond memories of all the cast. In the beginning John Forsythe tolerated me as an amateur, but then realized I had an instinct for acting and started to appreciate this gift. I learned so much from all of them.
Hitchcock was a connoisseur of food and had great knowledge in this area. We shot in Vermont because the hotel we stayed in, The Lodge, was famous for the best food in Stowe, Vermont. He liked the leaves of Vermont, but he really appreciated the food. There was always plenty on the set and I ate all of it because it was free. In my days as a chorus girl I hadn’t had much to eat. I existed on graham crackers and peanut butter. When I began the picture I was svelte and lithe, but by the time I buried Harry for the last time, the head of the studio called me… I think the word was blimp.
Hitch had a mind-tease code that kept you alert. One morning he came waddling toward me, eyes twinkling, roly-poly stomach well out in the lead.
‘Pleasant period following death.’
‘I beg your pardon?’
‘Genuine chopper, old girl, genuine chopper.’
‘And after your first line – dog’s feet.’
Finally, Hitch explained his version of cockney rhyming slang:
Good mourning. (Pleasant period following death)
Real-Axe. (Genuine chopper)
After you start your first line, paws. (Dog’s feet)
What a mind. I have the greatest appreciation for this mystery-meister who gave me the freedom of artistic expression, to seek and learn from some of the best. Hitch, wherever you are, I love you and will see you again…” —Shirley MacLaine
A star was born. MacLaine went on to be one of Hollywood’s most beloved leading ladies, but never appeared in another Hitchcock film. However, the production also marked the beginning of the director’s working relationship with Bernard Herrmann and the composer would go on to score all of the director’s films through Marnie. Music scholar, Robert Barnett, called the composer’s score a milestone in his career:
“It was his first Hitchcock outing. The music itself (or elements of it) may be familiar under another title. When Herrmann was in the studio for Phase Four Decca in 1968 he fashioned a concert piece from it and called it ‘A Portrait of Hitch.’ He did this because he felt that this music reflected Hitch’s dry and diabolic sense of humor…
…The orchestral specification is modest: double wind, four horns, harp and strings. As was his usual custom he uses the orchestra in smaller groupings selecting a color from his palette to match mood and image.
The music he wrote for the film exposes veins and arteries of winning freshness. Not one of the forty tracks is poor or misjudged. Herrmann gives every sign of having been totally immersed in lyricism and of enjoying every moment of it…” —The Bernard Herrmann Society
Unfortunately, the film wasn’t very successful at the box office. Alfred Hitchcock speculated that the film was improperly marketed to the public.
“I think The Trouble with Harry needed special handling. It wouldn’t have failed commercially if the people in the distribution organization had known what to do with the picture; but it got into the assembly line and that was that.” —Alfred Hitchcock
This might very well be the case. In an article about Jerry Pickman (a publicist at Paramount), Pickman admits that he didn’t think that the studio would be able to market the film.
“Hitchcock wanted to make a picture called The Trouble with Harry. He had a little girl named Shirley MacLaine– ‘I never heard of her,’ said the studio head–and an old man, Edmund Gwenn, and it was going to cost $800,000. We all shook our heads, the answer was no. Well, every morning I would have the studio send me a capsule of all the announcements they made to the press. They would give me a summary, and the next morning I see they announced The Trouble with Harry. I was a little annoyed but I wasn’t going to go down and challenge the president of the company…
… Balaban walked in, had his lunch, and as he walked around he said, ‘Is something bothering you? You didn’t say hello to me.’ I said, ‘I’m annoyed, Barney. Why did we have the meeting yesterday? We decided not to make the picture and the studio wired this morning saying we’re going ahead with it. If you changed it, why didn’t you tell us?’ He said, ‘I was too embarrassed. After we all said no, the studio head called back and said, ‘Barney, I can’t tell Hitchcock no, because he gave us To Catch a Thief and Rear Window. I haven’t got the courage to say no to him, so I told him we were going to make the picture.’ And that’s how the picture was made. That was how the company was run.” —Jerry Pickman
It has been written that The Trouble with Harry nearly ruined Hitchcock’s career, but this is not the case at all. It is more accurate to say that the film was simply ignored. Critical reception wasn’t particularly complimentary, but it certainly wasn’t hostile. Bosley Crowther’s review was typical of the critical reception towards the film:
“…It is not a particularly witty or clever script that John Michael Hayes has put together from a novel by Jack Trevor Story, nor does Mr. Hitchcock’s direction make it spin. The pace is leisurely, almost sluggish, and the humor frequently is strained. The whimsy inclines to be pretentious, such as Miss Natwick’s cheery reply to Mr. Gwenn’s expressed hope that her father’s death was peaceful: ‘He was caught in a threshing machine.’ Or again, when the two are out exhuming the freshly buried corpse, she says, ‘After we’ve dug him up, we’ll go back to my place and I’ll make you some hot chocolate.’” —Bosley Crowther (The New York Times, October 18, 1955)
Today, this seems like an unfair analysis. Then again, there are two kinds of people in this universe. There are those who “get it,” and there are those who “don’t get it.” Unfortunately, Mr. Crowther usually fell into the latter category. A recent review published in The Guardian labeled the film “a masterpiece.” I disagree with this statement, but the film is certainly on par with other comedies of the period and better than most of them. It stands out as a decidedly unusual film in the director’s canon and has earned the admiration that it now receives from cinephiles.
4 of 5 MacGuffins
This disc is available as part of The Masterpiece Collection boxed set and as an individual disc.
The Masterpiece Collection is given a tasteful book-style presentation with a page for each film that includes a folder for each disc. Some might prefer that each disc come in its own standard Blu-ray case. These folder style compartments do not always protect the discs and very often cause scratches.
The individual release presents the disc in a standard Blu-ray case with film related artwork.
The menu on the disc contains footage from the film accompanied by music in the same style as other Universal Blu-rays.
4.5 of 5 MacGuffins
Universal’s 1080P transfer of The Trouble with Harry is really surprisingly beautiful. Robert Burks’ autumn landscapes are vivid and accurate and viewers will see detail and clarity never before observed on any previous home video format. Contrast is perfectly rendered with deep black levels and the source print is nearly immaculate. While grain is certainly apparent, this is inherent in the film’s celluloid source and contributes to a more cinematic experience. It is actually rather difficult to find something to complain about.
4 of 5 MacGuffins
I suppose that some might complain about the lack of a 5.1 mix, but the 2.0 English Mono DTS-HD Master Audio is accurate and a vast improvement over those included on previous home video releases. There is no perceptible hiss present and the track seems to be free from other annoying signs of age as well. Dialogue is consistent and always intelligible and Bernard Herrmann’s music has more room to breath due to the lossless nature of this track. For one to expect anything better than this seems rather unreasonable.
3.5 of 5 MacGuffins
All of the supplementary materials from the DVD releases have been ported over to this Blu-ray disc.
The Trouble with Harry Isn’t Over — (32 minutes)
Laurent Bouzereau’s documentary on the making of The Trouble With Harry is a delightful look into the making of this often overlooked film. John Forsythe, John Michael Hayes, Herbert Coleman, Patricia Hitchcock, and Steven Smith (Bernard Herrmann’s Biographer) discuss the production.
This photo gallery plays by itself as a sort of slide show, but there is the option of skipping to the next photo.
Theatrical Trailer — (2 min)
Universe has mislabeled this so-called “Theatrical Trailer.” It is merely a promo for the VHS release of the film. This is a shame. It would have been interesting to see how Paramount chose to market this unique film since Hitchcock felt that the marketing department mishandled this one.
The Trouble with Harry isn’t usually considered one of Hitchcock’s greatest, but those who like whimsical dark humor will find a lot to love about the film, and this Universal Blu-ray is the best it has ever looked on home video.
Review by: Devon Powell