Distributor: Cohen Film Collection
Release Date: May 12, 2015
Region: Region A
Video: 1080P (MPEG-4, AVC)
Main Audio: 2.0 English Mono LPCM (48 kHz / 2304 kbps / 24-bit)
Bitrate: 34.06 Mbps
Note: This release is also available in a DVD edition.
“…Since the contract with Selznick wasn’t due to start until April, 1939, I had time to make another British film, and that was Jamaica Inn… Laughton and Erich Pommer were associated on the production of that one. The novel, as you know, is by Daphne du Maurier, and the first script was written by Clemence Dane, who was a playwright of some note. Then Sidney Gilliat came in and we did the script together. Charles Laughton wanted his part built up, and so he brought in J.B. Priestley for additional dialogue…
…Jamaica Inn was an absurd thing to undertake. If you examine the basic story, you will see that it’s a whodunit… All sorts of things happen in that tavern, which shelters scavengers and wreckers who not only seem to enjoy total immunity, but who are also kept thoroughly informed of the movements of ships in the area. Why? Because at the head of this gang of thugs is a highly respectable man – a justice of the peace, no less –who masterminds all of their operations.
It was completely absurd, because logically the judge should have entered the scene at the end of the picture. He should have carefully avoided the place and made sure he was never seen in the tavern. Therefore it made no sense to cast Charles Laughton in the key role of the justice of the peace. Realizing how incongruous it was, I was truly discouraged, but the contract had been signed. Finally, I made the picture, and although it became a box-office hit, I’m still unhappy over it.” –Alfred Hitchcock (Hitchcock/Truffaut, 1967)
Hitchcock was a director that usually enjoyed a very comfortable level of creative freedom. He was considered Britain’s best film director, and was given a rare amount of control over his films. If Alfred Hitchcock’s lengthy monologue about Jamaica Inn seems overly negative, it is probably due to the unusual amount of control that Charles Laughton and Erich Pommer had over the production.
He elaborates about of Laughton’s interference later in the same interview.
“When we started the picture [Laughton] asked me to show him only in close shots because he hadn’t figured out the manner of his walk. Ten days later he came in and said, ‘I’ve found it.’ It turned out that his step had been inspired by the beat of a little German waltz, and he whistled it for us as he waddled about the room. I can still remember how he did it… I don’t like to work that way.” –Alfred Hitchcock (Hitchcock/Truffaut, 1967)
Directing Jamaica Inn was probably good practice for the director, because his next film would be made for David O. Selznick. This film would be Rebecca, which was based on another novel by Daphne du Maurier. As a matter of fact, the author wasn’t particularly happy with Alfred Hitchcock’s adaptation of Jamaica Inn. She had to be convinced that Rebecca would be more faithful to her novel… but all of this seems to be a slight digression from the subject of this article.
The film certainly bears the mark of the master, but it isn’t a film that showcases his usual storytelling methods. Contemporary audiences might have the impression that Jamaica Inn was one of the director’s failures. This was not the case. As Hitchcock mentioned in his interview with François Truffaut, the film was quite a hit at the box office, and critical reception wasn’t particularly bad either.
Maurice Yacowar’s essay about Jamaica Inn (featured in Hitchcock’s British Films) claims that the film was poorly received, but when one looks at the actual reviews it becomes clear that the reception wasn’t particularly negative. There were certainly some negative reviews, but these were balanced by a large number of excellent reviews.
Variety was one of the first publications to sing the film’s praises.
“Superb direction, excellent casting, expressive playing and fine production offset an uneven screenplay to make Jamaica Inn a gripping version of the Daphne du Maurier novel. Since it’s frankly a blood-‘n’-thunder melodrama, the story makes no pretense at complete plausibility…
…Atmosphere of the seacoast and the moors is strikingly recreated and the action scenes have a headlong rush. Withal, there are frequent bits of brilliant camera treatment and injections of salty humor. It’s a typical Alfred Hitchcock direction job…” –Variety (December 31, 1938)
The BFI Monthly Film Bulletin was equally enthusiastic, but disagreed with Variety’s claim that the film was “typical” of Hitchcock.
“…This lurid story of violence and brutality is lavishly staged. Its sinister atmosphere is set in the opening sequence of a wrecking. This is most effectively represented, and the lighting of the night scene is outstandingly good. There are few directorial touches which are characteristically Hitchcock, and on the whole he has sacrificed subtlety to spectacle. The crowd scenes are handled with his usual dexterity…
…The newcomer, Maureen O’Hara, is charming to look at and has a delightful voice and shows distinct promise as an actress.” – BFI Monthly Film Bulletin (May, 1939)
The Portsmouth Evening News went even further in their praise of the film.
“This picture has been made by Laughton’s independent film unit – in collaboration with Erich Pommer – which gave us that very disappointing The Vessel of Wrath: a film of face-pulling grimaces, and slow action. But this is vastly better, and I rank it among the best films I have seen so far this year.
Jamaica Inn is a melodrama, and first-class melodrama too…
…I should say at once that [Laughton] is excellent in this role. He captures the grand manner of the arrogant aristocrat magnificently, and now and again there comes into his eyes that trace of hereditary madness which finally sends him to his death… It is a fine performance…
…The film is directed by Alfred Hitchcock, who is so good at creating an atmosphere of suspense in his pictures (as in The Lady Vanishes). This is not a typical Hitchcock film, but the suspense is there time and time again… Be sure to see Jamaica Inn.” -Portsmouth Evening News (May 16, 1939)
The Aberdeen Journal praised both Laughton and Hitchcock in no uncertain terms.
“Two names commend at once this version of Daphne du Maurier’s novel of the bad old Cornish wreckers — Charles Laughton and Alfred Hitchcock. Expectations are high and there is no disappointment. As the villainous squire who satisfies his taste for luxury by getting a band of ruffians to lure ships on to the Cornish rocks and then to plunder them, Mr. Laughton gives a characteristic performance. It is not, perhaps, original Laughton, but the actor straddles the scene and Mr. Hitchcock serves him particularly well in bringing out the ‘asides’ to detail which Mr. Laughton can do so well with the flicker of an eyelid or the wave of a wrist.
It is interesting to find Mr. Hitchcock directing a costume piece for a change. He produces terrific pace, which suits the bloodthirsty plot excellently, and he brings the best out of such fine supporting players as Marie Ney, Leslie Banks, Emlyn Williams, Robert Newton and Maureen O’Hara.” -Aberdeen Journal (October 3, 1939)
Independent Exhibitors Film Bulletin also enjoyed Jamaica Inn, and felt that it had immense commercial appeal.
“Jamaica Inn offers choice entertainment for a variety of filmgoers. Superbly acted and magnificently directed, this picturization of Daphne Du Maurier’s novel builds suspense and interest from the very first sequence to the taut, action-packed and unusual climax. It combines the best features of English mystery-drama with American action. It packs an entertainment wallop your reviewer has rarely felt during his past few weeks of Hollywood previewing. There are the mystery and horror angles to attract the action fans. More discriminating patrons will be interested in the acting treat set up by Charles Laughton. Leslie Banks, Emlyn Williams and others in the hand-picked cast. Because it is an English production, no exhibitor should stamp it as a film of limited appeal. Jamaica Inn warrants every possible exploitation effort. It is first rate motion picture entertainment…
…Charles Laughton is virtually the whole show. Expertly he creates a fascinating madman whose insanity becomes more intense, more apparent as he comprehends his approaching doom. Leslie Banks is excellent as the crude tool in Laughton’s hands. Marie Ney impresses as his wife. Newcomer Maureen O’Hara is attractive and a capable young actress. Emlyn Williams etches another of his distinctive heavy characterizations. Supporting cast is uniformly good.
A past master at this sort of drama, Alfred Hitchcock’s direction attains its usual high standard.” -Independent Exhibitors Film Bulletin (October 7, 1939)
Of course, there were a few critics that felt that the film wasn’t up to the usual Hitchcock standards. The Yorkshire Post published a particularly negative review.
“…That Mr. Hitchcock should be directing the picture gave promise of novel treatment. Yet Mr. Hitchcock’s technique, usually so refreshing even though he does not always take care to conceal the improbabilities in the story, never once came through in Jamaica Inn. Perhaps he was worried by the historical setting — his speciality is modern times — but oddly enough, there was none of that suspense which he can so expertly create. The film passed from shipwreck to smugglers’ inn, from squire’s mansion back, via smuggler’s inn, to the storm-lashed coast and a final night chase along the moonlit turnpike road.
Here, in fact, were all the right ingredients. Yet somehow one didn’t care a hoot what happened — and I think the reason, partly, was that not one of the characters was ever firmly planted as a real person: Mr. Laughton’s make-up was singularly grotesque, and I felt that behind it were not even the brains to direct one common smuggler, let alone a dozen.
It was understood that Sir Humphrey came of tainted stock, and that insanity would gradually present itself. And so it did — but not in that eerie, horrifying manner which lies well within Mr. Laughton’s range. Throughout he remained a merely ridiculous figure — even, his eventual suicide was rather absurd and provoked only titters.
Mr. Leslie Banks, as chief smuggler, blundered around and looked suitably dangerous; poor Miss Ney just suffered; Mr Robert Newton was a resourceful preventive officer, but in his dealings with Miss O’Hara spelt romance with a very small “r.” Miss O’Hara herself is sweet and pretty — but aren’t they all?
Most of the film has been shot in dim interiors — or else in shocking bad weather (with none of the grandeur of bad weather). This also contributed to the general gloom. I don’t think the sun shone once…” -F. A. R. (Yorkshire Post, May 10, 1939)
If scholars are under the impression that Jamaica Inn was poorly received, one reason might be a review that was published in The Times.
“Miss Daphne du Maurier’s story of wreckers on the Cornish coast, Jamaica Inn, which appears on the London screen this week, neither adds to nor greatly detracts from the reputations of Mr. Charles Laughton and Mr. Alfred Hitchcock. Mr. Laughton’s playing is effective along familiar theatrical lines, and Mr. Hitchcock’s production is rather painstaking than inspired…
…In the midst of a story which appears to have been made for schoolboys — the film is adapted from a novel by Miss Daphne du Maurier — there appears one curious and picturesque character, the character who is played by Mr. Charles Laughton… The wind blows nearly always, the nights seem to be very long and the scenes in daylight few, the waves are spectacular, and there is a great deal of fighting, riding, hiding, pursuit, and escape. In fact the director, Mr. Alfred Hitchcock, seems for the moment to have given up his method of slow and deliberate tension; it is a film of downright and in no way subtle action.
But the personage represented by Mr. Laughton is little more than conventionally picturesque; he is the squire who directs the wreckers, a fantastic and inordinate gentleman of the Regency period, megalomaniac, flighty, and uncontrollable. Even so it is apparently thought necessary to apologize for this curious figure by calling him, quite unnecessarily, a lunatic; Mr. Laughton makes him quite intelligible without going to such extremes and he gives a fascinating sketch of vanity run to seed and of the manners of a dandy changing in exile to hysterical flourishes. But it is surely a mistake to exaggerate the dandy’s accent until, as happens continually, he becomes inaudible in the theatre…” –The Times (May 15, 1939)
Certain reviews seem to report both the positive and the negative elements in Jamaica Inn, and these moderate reviews are probably a fair representation of the film’s attributes. The review published in Harrison’s Reports is one such example.
“This British-made production will probably do good business, not because the picture itself merits it, but because of the popularity of Charles Laughton, the star, and of Alfred Hitchcock, the director; also because of the fame of the novel, which has been read widely. It is a lurid melodrama, centering around nefarious characters, who resort to the most villainous acts to gain their ends. The action is spotty: at times it is slow, but occasionally it becomes quite exciting, holding one in tense suspense. Laughton overacts a bit, but his performance is colorful and amusing; he dominates the picture. He is particularly good in the final scenes…” -Harrison’s Reports (September 30, 1939)
Frank S. Nugent was wise enough to sort out the reasons behind some of the more problematic elements of Jamaica Inn. He believed that the control that Laughton had over the production was detrimental to the final product. His review isn’t particularly positive, but it does find room for praise.
“Having set his own standards, Alfred Hitchcock must be judged by them; and, by them, his Jamaica Inn… is merely journeyman melodrama, good enough of its kind, but almost entirely devoid of those felicitous turns of camera phrasing, the sudden gleams of wicked humor, the diabolically casual accumulation of suspense which characterize his best pictures. Without them, Hitchcock is still a good director, imaginative and cinema-wise, but with no more individuality than a dozen others in his field and subject, like them, to the risk of having a mere actor run away with the film.
That had never happened to Hitchcock before. His pictures always were his. But Jamaica Inn will not be remembered as a Hitchcock picture, but as a Charles Laughton picture. It bears the Laughton stamp as unmistakably as The Thirty-nine Steps bore Hitch’s. Perhaps that is the root of the evil, if it is an evil. For Hitch never faced a player his size before (and we’re not thinking only of gross tonnage). With two such stalwart individualists battling on a bare sound stage they might have come to a draw. But Laughton had more than weight on his side: he is co-owner of the producing firm, Mayflower Productions, and in the film he wears costume and a putty nose. No director can spot Mr. Laughton a putty nose and still hope to lead him by it.
With Laughton setting the pace then, which is jolly enough, though slower than Hitch would have ordered it, Jamaica Inn has become a pardonably free translation of Daphne Du Maurier’s romantic novel… Mr. Laughton’s relish of the squire—it was a clergyman in the novel, but no matter—is infectious. Conscious as we were that he was overplaying him unashamedly, there is that to Mr. Laughton’s ogling, lip-pursing, strutting, nostril-dilating style which makes the offense altogether endearing. We can’t recall when we’ve ever held a monster in such complete affection. But, of course, Mr. Laughton’s Laughton-ism has slowed things down. He is such a bulky man to get into motion. We had the impression, as the film rolled on, of Hitch rushing the action to his doorstep and then having to wait three or four minutes for Laughton to answer the bell. Actually, the wait must have told more on Hitch than it did on us.
There are other virtues. Maureen O’Hara, who is lovely, has played Mary Yellen well this side of ingénue hysteria, with charming naturalness and poise, with even a trace of self-control in her screams. Leslie Banks is capital as Joss Merlyn, the wrecker ringleader, with a fine crew of cutthroats around him—Emlyn Williams, Wylie Watson, Edwin Greenwood among them. Marie Ney as the girl’s aunt, Robert Newton as the undercover man, George Curzon as one of Sir Humphrey’s blanker friends are splendid in their degree. We enjoyed it all, Mr. Laughton most, but it doesn’t seem like Hitchcock.” – Frank S. Nugent (The New York Times, October 12, 1939)
The review that was published in Time magazine seems to have a similar viewpoint.
“Jamaica Inn (Mayflower). Fans of director Alfred Hitchcock had a surprise in store for them when they got the wrappings off this Hitchcock picture. They found it was no Hitchcock but an authentic Laughton. Scarcely a shot in the whole picture revealed the famed British director’s old mastery of cunning camera, sly humour, [and] shrewd suspense. But Charles Laughton’s impersonation of a Nero-like Cornish squire who is the paranoiac brain behind a gang of land pirates was magnificent in the eye-rolling, head-cocking, lip-pursing, massively mincing Laughton style.
Jamaica Inn is the somewhat free rending of Daphne Du Maurier’s best-seller of the same name… People who like their melodrama raw and in big gulps get their fill. Those who would swap a third-rate Hitchcock any night for a first-rate Laughton get an even break…” -Time (October 30, 1939)
One wonders what Jamaica Inn might have been like if Alfred Hitchcock had more control over the project. It is impossible to know for sure, but one would assume that he would give the film a more subjective treatment. Contemporary critics tend to respond more negatively to the film, but it is important to understand that they are coming to the film with a much larger catalog of Hitchcock films in which to compare this early work. Hitchcock was already an established master of suspense in 1939, but he had yet to create most of his best films.
It is also important to remember that until now, only inferior prints and transfers of Jamaica Inn have been available. As a matter of fact, many of the American public domain DVD releases of the film are missing approximately 8 minutes of footage! One has to question whether or not these critics were watching decent prints.
This brings us around to this new restored version of Jamaica Inn. The Cohen Media Group partnered with the British Film Institute to undertake a full 4K digital restoration of Jamaica Inn that was based on the BFI’s original nitrate negatives. The resulting print premiered at the 2014 Cannes Film Festival (it played in the Cannes Classic section), and also screened at the New York Film Festival.
3.5 of 5 MacGuffins
The Blu-ray disc is protected by a clear Blu-ray case (similar to those used by Criterion) with film related graphics. Inside the case is a small booklet that features chapter stops and film credits. These pages are illustrated with photographs from the film.
The animated menus utilize footage from the film with music from the film’s credits.
4.5 of 5 MacGuffins
The Cohen Media Group and The British Film Institute deserve praise for their 4K digital restoration of Jamaica Inn. A lot of painstaking time and effort went into the restoration.
“…The original nitrate negatives were sourced from the BFI. These elements were then scanned at 4K resolution by RRsat utilizing the ArriScan to create a DPX file sequence. The film was suffering from shrinkage and warping and as such had to be scanned without pin registration…
…Once scanned, the 4K sequence required huge amounts of stabilization to combat the shrinkage. Image warping also needed to be electronically pinned as the images were effectively bouncing around the screen. The nature of these issues required multiple software fixes on a frame by frame basis before the dirt and scratch removal could begin. The density within the image also fluctuated creating a pulsing effect which again had to be mapped and removed digitally.
Once these pre-fix stages the technical team moved into traditional restoration utilizing multiple software packages including PFClean, AfterFX, MTI and Dark Energy to treat the dirt and scratches. Grain treatment was applied with a mind to keeping as close to the original [celluloid source].” –Park Circus (Jamaica Inn Restored, May 21, 2014)
Their efforts were certainly not in vain. This transfer is an absolute revelation. The ghastly DVD versions that so many public domain houses released can be promptly tossed into the garbage bins. In other words, this is much more than an upgrade in picture resolution.
The dual-layered disc allows for a high bitrate that showcases this new restoration to maximum effect. The image exhibits much better contrast than anyone might expect, and this adds clarity to an already detailed image. The nitrate source materials make for a very cinematic image with a slight layer of grain that reminds us that we are watching a movie that was shot on nitrate film without ever becoming distracting. Most should be happy that the team did not go crazy with DNR. Tears in the print, dirt, scratches, and other anomalies have been properly eradicated. There may be a few rare instances of such flaws, but they aren’t at all distracting and should go unnoticed by most viewers.
The full version of the film is happily represented here in a suburb black and white transfer that is free of any Chroma. Alfred Hitchcock fans have reason to rejoice.
3.5 of 5 MacGuffins
The audio also required a great deal of restoration.
“…Hiss, crackle and pops were removed while the ‘noise’ from the original tracks was dramatically improved. The audio was digitized and then treated in the software domain in a completely non-destructive process.” –Park Circus (Jamaica Inn Restored, May 21, 2014)
The film’s audio track has been greatly improved by these efforts. It is quite clean for a film that is 75 years old, and the mono transfer seems to represent their work quite well. One can now experience Jamaica Inn without a wall of distracting hiss that seemed to haunt so many transfers of the film. Pops and crackling noises have also been greatly reduced (if not entirely obliterated). The opening music by Eric Fenby isn’t nearly as dynamic as it might be on a more recent release, but it is certainly within the realm of what one can reasonably expect from a 75 year old film.
3.5 of 5 MacGuffins
Feature-length Commentary Track by Jeremy Arnold
Jeremy Arnold is an author and film historian that has written over 500 programming articles and film reviews for the TCM website. He also has a few books about various classic films to his credit. His commentary track is surprisingly good. It is quite informative without ever becoming overly dry. It maintains the viewer’s interest throughout the entire length of the film. It is well worth the audiences time.
Shipwrecked In A Studio: The Making of Alfred Hitchcock’s Jamaica Inn– (1080P) -(13:06)
This featurette is essentially a video essay by Donald Spoto. Spoto is the author of two of the more controversial biographies about Alfred Hitchcock. The liner notes list this program as a “video essay.” Actually, it is more of a laundry list of trivia delivered in a scholarly tone of voice. It is nice to have here, but it is vastly inferior to the excellent commentary track. As a matter of fact, it doesn’t particularly focus on the actual making of the film very much.
However, it seems somewhat ungrateful to criticize this featurette. It is much more than one might expect. After all, the film is 75 years old.
2014 Re-release Trailer – (1080P) – (1:28)
The restoration trailer is also included here.
Jamaica Inn isn’t one of Alfred Hitchcock’s best films, but it is both diverting and essential viewing for fans of the director. Not only is it the final film made by Alfred Hitchcock before starting a career in Hollywood, but it is also the screen debut of Maureen O’Hara (or at least her first appearance that was credited to “Maureen O’Hara”). Those who have not yet seen this new 4K restoration print of the film will want to do so immediately.
Review by: Devon Powell