Spine # 969
Distributor: Criterion Collection (USA)
Release Date: February 18, 2014
Region: Region A
Length: 120 min
Video: 1080P (MPEG-4, AVC)
English Mono LPCM Audio (48 kHz, 1152 Kbps, 24-bit)
Bitrate: 23.98 Mbps
Notes: This release also includes 2 disc DVD set. Warner Brothers has also given the film a DVD release. However, this Criterion edition is the only version available on Blu-ray.
“I had offered Gary Cooper the Joel McCrea part in Foreign Correspondent. I had a terrible job casting the thriller-suspense films in America, because over here this kind of story was looked on as second-rate. In England, they’re part of the literature, and I had no trouble casting Donat or anybody else there. Here I ran into it all the time until Cary, who’s really English. Afterward, Cooper said, ‘Well, I should have done that, shouldn’t I?’ Of course I don’t think it was Cooper himself. I think the people around him advised him against it.” –Alfred Hitchcock (Hitchcock/Truffaut)
It isn’t surprising that Alfred Hitchcock decided to make a film that contained anti-neutrality sentiment. Shortly after his voyage to America; London was bombed and Hitchcock worried about the safety his family. He even tried to convince his Mother to join him in America.
David O. Selznick was famous for loaning out his contracted talent for a hefty profit and decided to do so when Walter Wanger requested the services of his star director. Wanger had bought the rights to Vincent Sheean’s memoir Personal History and he wanted Hitchcock to bring the book to the screen. Hitchcock used only the basic idea of the book and constructed an original screenplay (with Alma Reville, Joan Harrison, and Charles Bennett) that can really only claim to be inspired by Sheean’s memoir.
The resulting production can only be described as “extravagant.”
“With Foreign Correspondent, Hitchcock hoped to advance his American career. When Selznick loaned him to Walter Wanger in late November 1939, both producers apparently contemplated a twelve week schedule. Hitchcock consistently exaggerated his speed and may well have promised to develop the script in only three or four weeks [and] shoot it in eight or nine. A lax supervisor, Wanger gave the reins to Hitchcock and let the production take its course. Three months later, the screenplay remained unfinished and pre-production expenses had begun to soar. According to press releases, nearly six hundred craftsmen and technicians worked on Foreign Correspondent, many of them building the enormous sets. Hitchcock supervised construction of a three-story windmill, an Amsterdam city square, an airplane interior, and a mock-up of London’s Waterloo Station. A replica of the Clipper ran $47,000, and the director’s subtle lighting effects required a special relay system from the cameraman to the gaffer. By June 1940, costs approached a reported 1.5 million and would finally tower over those of Rebecca.
‘As soon as I was working for someone I wasn’t under contract to,’ Hitchcock later said, ‘the supervision was lessened.’ Selznick understood the consequences. Although Hitchcock’s assignment to Wanger ultimately lasted thirty weeks and brought his employer a $54,000 gross profit, Selznick grew concerned about the picture’s long schedule. United Artists had accused Wanger of inadequately controlling his operation and broken with him; through ‘improper supervision,’ Dan O’Shea told Selznick, Wanger had now made Hitchcock appear ‘an exceedingly slow director.’ Production manager Ray Klune confirmed the point: Hollywood had begun to gossip that the quality of Foreign Correspondent only barely justified its cost. As Selznick realized, unchecked extravagance would make Hitchcock difficult to handle and even more difficult to lend.
Hitchcock returned from Wanger with a fresh taste of independence…”
– Leonard J. Leff (Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick in Hollywood)
Hitchcock’s extravagance paid off for Wanger, even if it was a thorn in Selznick’s side. Audiences and critics both raved about the film. Bosley Crowther’s review encapsulates the film’s critical reception:
“They say that the current heroes of Americans, young and old, are the foreign correspondents, those dashing chaps who presumably hop all over Europe, Asia, Africa and points between, hobnobbing with influential persons, catching wars on the wing and rushing madly every few minutes to cable home the latest hot news. If such is the case, then Walter Wanger’s own special Foreign Correspondent, which arrived at the Rivoli last night, should be the particular favorite of a great many wonder-eyed folk. For into it Director Alfred Hitchcock, whose unmistakable stamp the picture bears, has packed about as much romantic action, melodramatic hullabaloo, comical diversion and illusion of momentous consequence as the liveliest imagination could conceive.
Never, we venture to suspect, has there been an American news scout abroad who got himself so fantastically involved in international monkey-shines as does Mr. Hitchcock’s bewitched and bewildered Joel McCrea. And never, we know for a fact, has Mr. Hitchcock let his flip fancy roam with such wild and reckless abandon as he does in the present case. Instead of a young reporter covering Europe methodically for his sheet, Mr. Hitchcock is giving us a picture of Europe—or, at least, a small but extremely sinister sub-sector of same—doing its most devious best to cover and destroy Mr. McCrea. And although this does not abuse the romantic conception of a correspondent’s career it does make for some oddly exciting and highly improbable shenanigans.
Improbable? Well, after all, no one expects probability in a Hitchcock picture. The secret of the fellow’s success is his command of the least expected [and] his use of the explosive surprise which often verges upon the absurd. Usually he manages to keep things moving with such fascinating rapidity that he never goes over the edge, but this time he comes perilously close. With the news-hawk hopelessly entangled in a monstrous spy plot, beyond his control or even his comprehension; with Mr. Hitchcock trotting out some rather obvious old tricks of suspense and diabolically piling on the trouble, the patron is likely to suspect that his leg is being deliberately pulled. Even Mr. McCrea, in a desperate moment, yelps helplessly, ‘The one thing everybody forgets is that I’m a reporter!’
Obviously, it is unfair to reveal the plot of a Hitchcock picture. So the most we can tell you about this one is that it casts a young police reporter, sent to Europe in August, 1939, because his publisher believes ‘a crime is hatching over there,’ right bang in the middle of a big ‘fifth column’ plot in London; sets him legging after a kidnapped Dutch statesman and in turn brings the Nazi agents down on him. There is much flesh-creepy business, much genuinely comical by-play and a generous interlarding of romance. And it reaches a fantastic climax on the wing of a shell-wrecked transatlantic plane in mid-ocean. Some story!
No one but Hitchcock would dare to whip up a picture like this and for those who can take their sensationalism without batting a skeptical eye it should be high-geared entertainment. The cast is uniformly good, especially in the minor roles, and some of the photographic sequences are excellent—especially one in an old Dutch windmill. Only Robert Benchley, who plays a broken-down bowler-and-cane type of London correspondent, tends too heavily toward travesty—just a shade too heavily. And that is the lone inclination which Foreign Correspondent could most becomingly do without.” –Bosley Crowther (The New York Times, August 28, 1940)
His derogatory commentary about Robert Benchley’s performance seems unfair and does not extend to most of the other reviews written on the film.
One wonders what Selznick thought when he heard about the film’s various Academy Award nominations (Best Picture, Best Supporting Actor, Best Original Screenplay, B&W Cinematography, B&W Art Direction, and Special Effects). The film would be in direct competition with Rebecca (which was produced by Selznick)! Whatever his reaction may have been, it was soon remedied when Rebecca took home the golden statue.
While many of the propaganda films from this era have aged awkwardly, Hitchcock’s thriller still manages to engage modern audiences. Donald Spoto shares this opinion and elaborates:
“…Hitchcock’s Foreign Correspondent has best withstood the years, and even after just one viewing, the picture clearly reveals concerns beyond its concluding propaganda statement (tacked on by producer Walter Wanger). Charles Bennett’s and Joan Harrison’s screenplay is adventurous and entertaining, and the brilliant production design by William Cameron Menzies made for a film of astonishing visual complexity. In its meticulous structure, its disarming humor and its multi-leveled humanity, Foreign Correspondent remains without a doubt a Hitchcock Masterwork.” –Donald Spoto (The Art of Alfred Hitchcock)
Foreign Correspondent is not as well known as other Hitchcock films, but this should not be interpreted as a sign of inferiority. The film is thoroughly enjoyable and contains some amazing sequences that stand amongst director’s most iconic set pieces.
5 of 5 MacGuffins
Criterion has always packaged their discs in an attractive manner, but this release is one of their most beautiful presentations to date. The box features a spectacular cover illustration designed by Patrick Leger (and designed by F. Ron Miller). A booklet is also included and features an essay by James Naremore that is entitled “The Windmills of War.”
The menus are attractive and are in the same style as other Criterion titles and features music and ambiance from the film.
Everything about this release is presented with an elegance that is sure to delight cinemaphiles. This is by far the best presentation that any Hitchcock film has ever received on Blu-ray (so far).
5 of 5 MacGuffins
“Foreign Correspondent is presented in its original aspect ratio of 1:37.1. On widescreen televisions black bars will appear on the left and right hand sides of the image to maintain the proper screen format. This new digital transfer was created in 2K resolution on a Lasergraphics scanner from the 35mm original camera negative. Thousands of instances of dirt, debris, scratches, splices warps, and jitter were manually removed using MTI’s DRS and Pixel Farm’s PFClean, while Digital Vision’s Phoenix was used for small dirt, grain, noise management, and flicker.” –The Criterion Collection
Criterion’s meticulous work on this transfer has paid off. To say that this 1080P transfer is a step above the previous Warner Brothers release (available on DVD) is a bit of an understatement. Much of the damage evident in the older release has miraculously disappeared and there is more information on all four sides of the frame due to the accurate 1:37.1 aspect ratio. The picture clarity is superb and contrast is beautifully rendered. One notices details and textures that haven’t been evident on any previous home video format.
4 of 5 MacGuffins
“The original monaural soundtrack was remastered at 24-bit from a 35mm optical soundtrack. Clicks, thumps, hiss, and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube’s integrated workstation.” –The Criterion Collection
The sound quality has also been notably improved over the previous Warner Brothers release of the film. The disc’s uncompressed Mono mix sounds extremely clean and one must strain to hear a slight amount of hiss, which is really the only freckle on the face of this track.
4.5 of 5 MacGuffins
The Dick Cavett Show – (1:02:06)
In 1972, Alfred Hitchcock was a guest on The Dick Cavett Show and the resulting interview is one of the most entertaining and informative television interviews with the director that this reviewer has ever seen. It is nice to finally see it featured on home video.
Visual Effects in Foreign Correspondent – (18:57)
Special effects expert, Craig Barron provides an extremely in-depth analysis of the special features included in the film. Viewers are not only told but are also shown how the various effects were achieved.
Hollywood Propaganda and World War II – (25:19)
Mark Harris discusses the background of propaganda films and elaborates on the political atmosphere that surrounded their creation. He also gives a rather detailed account of the origins and production of Foreign Correspondent. It is a very compelling addition to the disc and should delight fans of the film.
Theatrical Trailer – (2:23)
This trailer for Foreign Correspondent is one of the more interesting trailers from the era.
Have You Heard? The Story of Wartime Rumors
One of the more interesting and unusual items on this disc is this1942 Life magazine “photo-drama” by Alfred Hitchcock. Life explained the essay in a short letter to their readers:
“From Stephen Early, [White House press] secretary to President Roosevelt, recently came the suggestions that LIFE tell a picture story of wartime rumors and the damage they are liable to do. In accordance with this request, the editors asked Alfred Hitchcock, famed Hollywood movie director, to produce such a story, with LIFE photographer Eliot Elisofon as his cameraman. When Mr. Hitchcock graciously agreed, a script was prepared, the director picked his characters from the ranks of movie professionals and LIFE’s Los Angeles staff, and shooting commenced in Hollywood.
Have You Heard? is the result of their cooperation in photo-dramatization. A simply sexless story, it shows how patriotic but talkative Americans pass along information, true or false, until finally deadly damage is done to their country’s war effort. One false rumor is silenced by a man who later is unwittingly responsible for starting a true rumor which ends in a great catastrophe. Moral: Keep your mouth shut.” –Life Magazine
The director even makes one of his cameo appearances!
This is an extremely interesting addition to the disc that adds an incredible amount of value.
1946 Radio Adaptation of Foreign Correspondent – (25:07)
Joseph Cotton stars in this interesting radio adaptation of Alfred Hitchcock’s second American film. The story has been gutted like a fish and restructured to accommodate the much shorter length of the radio program, but this is an interesting companion piece to the film.
Criterion deserves to be thanked and congratulated for their wonderful efforts. This release goes beyond offering a great transfer of a great film. It also contains one of the most impressive supplemental packages available on any Hitchcock related Blu-ray release. The included 2-disc DVD set is also a very welcome addition to this package.
The Criterion Collection’s Foreign Correspondent page:
Review by: Devon Powell