Book Interview: Hitchcock’s Heroines

Cover

Publisher: Insight Editions

Release Date: May 01, 2018

A Conversation with Caroline Young

From his early days as a director in the 1920s to his heyday as the Master of Suspense, Alfred Hitchcock had a complicated and controversial relationship with his leading ladies. He supervised their hair, their makeup, their wardrobe, and pushed them to create his perfect vision onscreen. These women were often style icons in their own right, and the clothes that they wore imbued the films with contemporary glamor.

Quite a lot has been written over the past few decades regarding Alfred Hitchcock’s use of women in his films—some of it from a scholarly or theoretical standpoint and some of it from a sensationalized tabloid angle that only serves to muddy the waters of responsible scholarship. However, it must be said that this new Insight Editions release of Caroline Young’s Hitchcock’s Heroines doesn’t quite fall into either category. She chronicles six decades of glamorous style while exploring the fashion legacy of these amazing women and their experiences working with Hitchcock. It is informative without being pushy but still manages to have a point of view. What’s more, Young’s text is well researched and beautifully illustrated with studio pictures, film stills, and original drawings of the costume designs. Anyone with a fondness for attractive coffee table books should consider adding this volume to their collection.

Caroline Young is based in Edinburgh Scotland. Her love of film and fashion led to her writing Classic Hollywood Style, Style Tribes: The Fashion of Subcultures, and Tartan and Tweed. Young recently consented to this exclusive interview with Alfred Hitchcock Master, and we hope that you enjoy it as much as we did!

Alfred Hitchcock and Doris Day on Location

This photograph of Alfred Hitchcock and Doris day is one of the many gorgeous photographs contained within the pages of “Hitchcock’s Heroines.” It was taken during the production of The Man Who Knew Too Much.

AHM: When did you first become interested in Alfred Hitchcock’s work and what instigated the interest?

CY: I have been a Hitchcock fan since my early teens. I would read Empire magazine, which would often do lists of the best films ever made, and Hitchcock was frequently on the list. So I would rent as many videotapes as I could, and I think the first one I saw was Rear Window. I just loved the visuals and the way it felt like I was in this tenement in a sweltering summer in New York. I did film studies at university so my appreciation was further built, studying the shower scene and applying various film theories to his work.

AHM: Could you describe Hitchcock’s Heroines for our readers? What makes this book stand out amongst the others in your opinion?

CY: Hitchcock’s Heroines is the first book to visually explore the costumes and image of the women in Hitchcock’s films. It has great images and costume sketches, including one from Frenzy that has never been published, but it offers a lot more than this. I wanted to take a balanced approach to Hitchcock’s relationship to his leading ladies, weave in details on the making of the films, and celebrate these amazing actresses and their stories. I also researched and found further detail on the designers behind the different films, such as Adrian for Shadow of a Doubt, and how it was David O Selznick who shaped the character’s image in Rebecca and Spellbound.

AHM: What gave you the initial idea to write a book that centers on the heroines in Hitchcock’s canon and what were the biggest challenges in making it a reality?

CY: The idea came from my first book, ‘Classic Hollywood Style,’ which explore the story behind the costumes in classic movies. As a follow up I wanted to do another film costume book that focused entirely on Hitchcock, as I had only featured To Catch a Thief, but I had found out so much more information on the costumes in his films that I would’ve liked to have included. This was in 2012, and there was also a lot of interest in the relationship between Tippi and Hitchcock at this time, and his obsession over blondes, particularly on the release of The Girl. But rather than look at him through this misogynistic filter, I was interested in seeing how the women in his films were sympathetic and inspiring, how their image was constructed, and what the actresses thought of Hitchcock and how they got on with them.

The main challenge was the topic, as firstly, Hitchcock was considered controversial, and also that books on film fashion are not always considered popular. I was also conscious of being respectful to Tippi and that a balanced approach didn’t diminish what she was saying.

AHM: Do you have a favorite Hitchcock heroine? If so, who would that be and why is she your favorite?

CY: Difficult to choose, but I adore Nova Pilbeam as she’s really fresh and plucky in Young and Innocent (you wonder how did she learn skills from being in a boxer’s dressing room), but Ingrid Bergman in Notorious is another favorite. I like the character arc from self-destructive to showing complete guts in sacrificing herself for duty, the way the ‘female gaze’ is reversed in the party scene, and those Edith Head costumes which use stark black and white to make her stand out. Also, Ingrid Bergman does being drunk really well.

AHM: Now, the reverse of the last question: Which of Hitchcock’s leading ladies is your least favorite and why did she not appeal to you?

CY: Maureen O’Hara in Jamaica Inn, probably because the film doesn’t really feel like a Hitchcock work, and it doesn’t leave a memorable impression.

AHM: How did you decide upon which films and actresses to include in the book?

CY: It was a tough call as there was a limit to how much I could include—so I went for the most notable films in terms of visuals around the female character, along with ones I felt illustrated the journey. Nova Pilbeam is not that well known but had been an early protégée of Hitchcock’s, which is why I included Young and Innocent. I would have liked to have explored Vera Miles in The Wrong Man but her image is secondary in that film. However, that could have been interesting in itself.

Madeleine Carroll

Madeleine Carroll: Alfred Hitchcock’s “first glacial blonde prototype.”

AHM: How do you think his British films—and the heroines that feature in these films—differ from those he made as a Hollywood director? Did his heroines change once he moved to America? If so, what are these differences? What do you feel the reasons for this might be?

CY: The British period was when he was finding his own style, developing new techniques and narratives, and in the British period, apart from Anny Ondra, who he enjoyed working with, and Madeleine Carroll who was the first glacial blonde prototype, it wasn’t until Grace Kelly that he found his muse. There are articles in the early 1930s where he talks about what makes the ideal heroine—and he notes that above all they must be appealing to a female audience, so that’s really what he had in mind when casting his British heroines. In later interviews with Hitchcock in the 1950s, when the ideal of the Hitchcock blonde had been established, he pushed a PR line about the Nordic blonde, the ‘snow covered volcano’, and I feel that this was really shaped by Grace Kelly, whose magic he was striving to recreate.

One of the main factors in the differences is that it was in the late 1940s American period where he finally found autonomy in his work as both director and producer, and this allowed him to have complete control, rather than having to answer to other producers. That’s why Notorious is interesting as the first Edith Head collaboration, and the first where he really takes control of the heroine’s image.

Some of the differences are also down to the period they were made. Women in 1930s films often followed the screwball comedy mold, and they were designed to appeal to female audiences who liked plucky, fashionable heroines on screen. Then in the early 1940s, there was a trend for gothic romantic films that delved into the heroine’s anxieties, and this was all shaped by the Second World War. Priscilla Lane in Saboteur was another example of the archetype he would later develop more fully, but I feel he was disappointed a little in her performance. The period of the Hitchcock blonde was predominant in the 1950s, once he had his dream team, and with Edith Head shaping the costumes, and perhaps it could also be argued that the Hitchcock heroine that we think of is very much a 1950s woman.

AHM: As you well know, Hitchcock had originally intended to pull Princess Grace out of retirement so that she could star in MARNIE before later deciding to make the film with Tippi Hedren. How do you think the casting of Grace Kelly would have changed the final film? How do Hedren’s qualities differ from Grace Kelly’s?

CY: I imagine the making of the film would have been a happier experience for all involved if Grace Kelly had played Marnie, and this could, in turn, have had a significant effect on the final work.

Grace Kelly was also a more experienced actress, requiring less guidance than Tippi, and while Tippi has this real vulnerability and emotional quality, I wonder if Grace Kelly would have made the character seem more manipulative and less frightened. Maybe she would have had the ability to convince him of character changes, to cut the rape scene etc, which many people believe he kept in to demonstrate complete control of Tippi.

It’s often said that Hitchcock was never the same after the making of Marnie, it was an upsetting time for Tippi (as she has recounted). If Grace Kelly had done the role, his later films may have been different. He may have been allowed to make Mary Rose… It’s an interesting question as it could potentially have had a big effect on how we judge him now.

AHM: Alfred Hitchcock’s films are still enormously popular all around the globe. Why are his films still relevant while so many others have long been forgotten?

CY: They were highly innovative, combining humor, suspense, and similar themes throughout which have provoked countless theories and examinations around his fetishes and obsessions. He was a great PR man who knew how to publicize himself, evident from some of the early interviews in the 1930s, and so he became a fascinating, intriguing figure in himself. One of the appealing aspects of Hitchcock is also that he captures a particular time and place in his visuals, and Hitchcock, as a British director, captures America through the eyes of a Brit. So he explores Americana in Psycho, with the highways and motel, and uses huge American landmarks for the climax of many of his films (Mount Rushmore, the Statue of Liberty, and etc). He was also always looking to be innovative [and] to push boundaries, but he also changed the way we view films with Psycho. [It’s] hard to believe people would just wander into the cinema to see a film at any time, but Hitchcock insisted audiences not be permitted once the film started. So all these factors have contributed to the longevity of his films, and that we are still discussing him in detail along with recent controversies which have continued to keep him in the news.

Ingrid Bergman - Still from Notorious

“Ingrid Bergman in Notorious is another favorite…”

[Note: Some of the opinions expressed in this interview are not necessarily shared by Alfred Hitchcock Master. Please be respectful to others in your comments if you wish to dispute any of these opinions. Remember that this is a friendly community.]

Interview by: Devon Powell

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Offbeat Blu-ray Review: Ingrid Bergman: In Her Own Words – The Criterion Collection

Spine #828

Blu-ray Cover

Distributor: Criterion Collection (USA)

 Release Date: August 16, 2016

 Region: Region A

Length: 1:54:16

Video: 1080P (MPEG-4, AVC)

Main Audio: 5.1 Multi-Language (Swedish, English, Italian, and French) DTS-HD Master Audio

Subtitles: English, English SDH

Ratio: 1.78:1

Bitrate: 32.33 Mbps

Notes: This title is also available in a DVD edition

Title

“Some years ago I had a chance meeting with Isabella Rossellini, the daughter of Ingrid Bergman, and she presented me with a most direct proposition: ‘Shall we make a film about Mama?’ I saw this as a most challenging project, and when I later got access to her rich posthumous work – diaries, letters, photographs, amateur movies – my appreciation of Ingrid Bergman as a strong and most determined artist grew even bigger. With Ingrid Bergman: In Her Own Words (Jag är Ingrid) I’ve tried to make a rich and multi-colored portrait of this extraordinary human being, based to a large extent on her own offerings, her opinions as expressed in her private diaries and self-made amateur movies, her art as documented in films over more than four decades. And I have called in people close to her – her children – to witness about her life and her great offerings to all of us who have only gotten to know her from the silver screen.” -Stig Björkman (Cannes Press Book)

Scholars are apt to name Grace Kelly as Alfred Hitchcock’s most important leading lady, but those who have an acute awareness of the director’s entire career should find this rather short-sighted. It should be more than obvious that Ingrid Bergman was every bit as important to Hitchcock’s work. One imagines that scholarship would be quite different if Bergman happened to be a blonde, but to pontificate about this would only lead us further from our enchanting subject.

It is nearly impossible to write about Ingrid Bergman without mentioning the scandalous affair that left her Hollywood career in shambles for over half a decade. Manohla Dargis recently summarized this dramatic ordeal in a succinct paragraph:

“For those who know Bergman only as a Hitchcock brunette or as the dewy beauty who should have walked off with Humphrey Bogart in Casablanca, it may be hard to grasp that starting in the late 1940s, she became an international scandal by running off with Rossellini, ostensibly to make Stromboli. They made the film and, while she was married to her first husband, Petter Lindstrom, a child. It was an affair that seemed to have started with a letter or maybe a shared dream. ‘I was bored. I felt as if it was the end of growing,’ she is quoted as saying in an early biography — bored, too, it seemed, with a Hollywood she once sought. ‘I was searching for something, I knew not what.’” – Manohla Dargis (New York Times, November 12, 2015)

How this information could “be hard to grasp” after everything that has been written about it is beyond this reviewer’s comprehension, but it certainly shocked people at the time. As a matter of fact, Charles H. Percy even saw fit to denounce Bergman on the floor of the United States Senate, calling her “a powerful influence for evil.” It took time for Bergman to be welcomed back into American hearts, but this curse seems to have ended with the release of Anastasia in 1956.

The Hitchcock-Bergman Trilogy

The Hitchcock/Bergman Trilogy: ‘Spellbound’ (1945), ‘Notorious’ (1946), & ‘Under Capricorn’ (1949)

Of course, none of this really mattered in the grand scheme of Ingrid Bergman’s life (or to those closest to her). To those who knew her, she wasn’t the Hollywood star that portrayed symbols of virtue (with a few noteworthy exceptions – including Hitchcock’s Notorious and Under Capricorn). She was simply an adoring mother who would be greatly missed by her children when they couldn’t be near her. She was a kind and compassionate friend. She was an ambitious and incredibly talented actress. She was a human being who couldn’t fit into the roles forced upon her by the public. The actress would later comment on her public image, saying “I’ve gone from saint to whore and back to saint again, all in one lifetime.”

Neither the saint nor the whore is represented here. Stig Björkman’s Ingrid Bergman: In Her Own Words instead prefers to reveal the human being that those closest to her remember, and it does this with remarkable intimacy. Through never-before-seen private footage, notes, letters, diaries and interviews with her children, this documentary presents a personal portrait and captivating look behind the scenes of the remarkable life of a young Swedish girl who became one of the most celebrated actresses of American and World cinema. Alicia Vikander gives Ingrid Bergman’s private letters and diary entries a voice while the viewer is shown vintage home movie footage of and shot by Bergman herself. Meanwhile, her family and friends speak candidly about their relationship with this remarkable woman. The overall result is a documentary that viewers should find dramatically compelling, because it is quite clear that Bergman’s inner life was a volcano of mixed feelings and emotions.

While she adored her daughter (Pia Lindström) and admired her husband (Dr. Petter Lindström), she didn’t feel fulfilled unless she was working:

“Dear Ruth,

I’m very busy as usual. A home, a husband, children—it should be enough for any woman. I thought I’d get a new role soon after Jekyll and Hyde. But, I’ve had nothing in four months. It’s two months too long. I think about every day that’s wasted. Only half of me is alive. The other half is packed away in a suitcase suffocating. What should I do?” -Ingrid Bergman (Letter read in “Ingrid Bergman: In Her Own Words

This seems like a very common dilemma faced by women of the era. How many young girls listened while their brothers were asked what they wanted to be when they are grew up only to be asked who they wanted to marry? In some ways, Ingrid Bergman was a living example of the feminist predicament during that period in history.

Meanwhile, Hitchcock fans will be happy to note that the director makes a few “cameo” appearances in the film; first in some very interesting Pathé newsreel footage of Bergman with her director, and again in some of Bergman’s very rare home movie footage. She discusses working with Hitchcock fondly in a letter to her one of her friends in Sweden:

“Mollie, my friend. We’re hard at work on Hitchcock’s Notorious. He’s so talented. Every day with him is pure happiness. He brings out the best in me, things I never imagined I possessed. He mixes serious with humor, comedy with drama. I thought Cary Grant would be conceited and stuck-up, but he’s one of the nicest co-stars I’ve ever worked with…” –Ingrid Bergman (Letter read in “Ingrid Bergman: In Her Own Words

Of course, this is mere icing on a rich and very satisfying slice of cake… or should it be life? It doesn’t really matter. Ingrid Bergman: In Her Own Words proves that a slice of life can be just as rewarding as a slice of cake.

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The Presentation:

4 of 5 MacGuffins

The Blu-ray disc is housed in the clear case that has become the standard for The Criterion Collection. F. Ron Miller’s artwork is well conceived and surpasses the film’s American one sheet artwork (which his design is based upon). An added bonus is the wonderful fold out pamphlet featuring an essay by Jeanine Basinger.

Menu

The disc’s menus utilize similar artwork to the cover, but the photo of Ingrid Bergman and her camera is different. This image is accompanied by music from the film’s score.

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Picture Quality:

4 of 5 MacGuffins

Criterion’s transfer of the film is impressive and seems to be limited only by the source various materials in the feature. As is usual for Criterion, they have explained the technical specifications in the leaflet provided in the disc’s case:

“The film’s new footage was shot in Super 35mm HD with a Canon C300 digital camera and on Super 8mm film. The majority of the archival 8mm and 16mm film footage was obtained from the Wesleyan Cinema Archives in Middletown, Connecticut. This material was sent to Prasad Corporation in Burbank, California, and scanned in 4K resolution. Other materials, archived at the Cineteca Nazionale in Rome, were scanned in 2K resolution. Ingrid Bergman’s 8mm home movies were obtained from her daughter Pia Lindström, having previously been transferred from film to video. The location of the original reels for this material is unknown. The production was completed in a fully digital workflow.” –Liner Notes

Obviously, nearly all aspects of the image fluctuates in quality and it is quite difficult to give a concise overall report about the quality of the transfer. However, it does seem like the transfer showcases every element in the best possible light. One must at least say that the digitally shot interview footage is always crisp and clear with plenty of fine detail. This can also be said of many of the still images that are featured throughout the film. The quality of the 16mm and 8mm footage fluctuates from source to source, but the quality seems to accurately represent its source. (Frankly, the varying source materials are part of the film’s charm.)

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Sound Quality:

4 of 5 MacGuffins

Criterion’s sound transfer seems to be a solid representation of the film’s source audio elements. The track no doubt benefited from the film’s digital workflow.

“This film features a fully digital soundtrack. The 5.1 surround audio for this release was mastered from the original audio master files using ProTools HD.” –Liner Notes

The result isn’t a flashy audio mix (there are relatively few separations), but the film’s important audio consists mostly of dialogue and music. It certainly suits the film’s needs; as the dialogue is always quite clear, and the music seems to have ample breathing room. There is quite a lot of archival audio included in the mix, and some of these tracks can be more difficult to understand than the majority of the program. However, these brief instances seem be an accurate reflection of the source clips.

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Special Features:

4 of 5 MacGuffins

Criterion has included over an hour of related supplemental material for Bergman fans, and most of them are well worth the time that it takes to watch them.

Two Deleted Scenes:

“How I Would Raise My Daughter” – (02:54)

Ingrid Bergman’s Three Daughters (Pia Lindström, Isabella Rossellini, and Ingrid Rossellini) read an essay written by Ingrid Bergman at age seventeen. The essay was titled “How I Would Raise My Daughter.” It is interesting to hear her thoughts on motherhood at that age. However, one understands why it wasn’t included in the final film.

Interview with Rosario Tronnolone (Bergman Scholar) – (08:45)

Rosario’s interview is interesting, but it would have been out of pace in the finished film. He discusses his favorite photographs of Bergman and the photographers that took them, shows us the location of her wedding to Rossellini, and talks generally about her character.

Extended Scenes:

Shubert Theatre – (14:01)

This is a longer version of the interview with Sigourney Weaver, Isabela Rossellini, and Liv Ullmann at the Shubert Theater. They seem to stray from the topic and begin discussing their own careers. It is interesting to hear them talk shop. However, most of this had no place in the actual film, and one is grateful that it was cut.

Rossellini Siblings – (05:48)

The three Rossellini siblings discuss their mother here at Isabella Rossellini’s home in New York. While much of this was used in the actual film, it is interesting to see the conversation continue.

8 mm Home Movies – (07:07)

Pia Lindström supplied Stig Björkman with 8mm footage that was shot by Ingrid Bergman in the 1930s and 1940s. However, some of the footage didn’t make it into the film. Luckily, what he didn’t use is included here (along with the footage that he did use). Hitchcock enthusiasts will find the footage especially fascinating, because there is quite a bit of rare footage of Alfred and Alma Hitchcock!

Interview with Stig Björkman – (18:35)

Stig Björkman discusses the genesis of the project, the research and gathering of various footage and other resources, the shape of the film (and various other ideas that were considered, and more. The interview is enhanced by photographs and footage from the documentary itself. It is surprisingly comprehensive, but all subjects discussed are merely touched upon in a very general way.

Clip from Landskamp (1932) – (00:34)

Ingrid Bergman worked as an extra in Landskamp, which was her first film appearance. She is one of a number of girls waiting in a line. She is quite young and a bit unrecognizable. The inclusion of this particular clip should make Bergman fans very happy, but it should be pointed out that most (if not all) of this same clip is included and discussed during the actual documentary.

Outtakes from På solsidan (1936) – (04:02)

These outtakes from På solsidan give viewers an interesting look at one of Bergman’s early Swedish performances in very raw form. She played the part of Eva Berghand opposite of Lars Hanson (as Herold Ribe) in her sixth film role.

Music Video for Eva Dahlgren’s “Filmen Om Oss” – (04:42)

The English version of this song (The Movie about Us) was used at the end of the film, and Eva Dahlgren’s video for the song uses a home movie aesthetic to mirror that of the documentary. It is an unusual supplement for a Criterion release, but it is interesting to hear the Swedish version of the song. It actually brings up an interesting question: If a Swedish version of the song exists, why would Björkman use the English version? A large percent of the documentary is in Swedish. It seems a bit odd that the song wouldn’t be in this same language. (This shouldn’t be read as a complaint.)

Theatrical Trailer – (01:35)

The theatrical trailer is quite effective. It certainly made this reviewer want to see this important, and it is nice to have it included here.

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Final Words:

This intimate glimpse into the life of one of cinema’s most beloved actresses has been given a wonderful release by Criterion. Those who know Bergman’s story may not find many surprises here, but they will experience the information from a fresh and very personal perspective.

Swedish One Sheet

The Original Theatrical One Sheet

Review by: Devon Powell

Blu-ray Review: Spellbound

cover

Distributor: MGM Home Entertainment / 20th Century Fox

Release Date: 24/Jan/2012

Region: Region Free

Length: 118 min

Video: 1080P (MPEG-4, AVC, 37.87 Mbps)

Main Audio: English Mono DTS-HD Master Audio (48kHz, 24-bit)

Subtitles: English

Ratio: 1.37:1

Bitrate: 37.87 Mbps

Notes: This title is also available on DVD. It was released individually and as part of The Premiere Collection boxed set (both with different cover art).

SET -Front

This Blu-ray title is also available as part of a three film set entitled, The Classic Collection. This set has different cover artwork.

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“Selznick thought I only wanted Dali for publicity purposes. That wasn’t true. I felt that if I was going to have dream sequences, they should be vivid. I didn’t think that we should resort to the old-fashioned blurry effect that they got by putting vaseline around the lens. What I really wanted to do, and they wouldn’t do it because of the expense, was to have the dream sequences shot on the back lot in bright sunshine, so they would have to stop-down the camera to such a degree that the pictures would have been needle-sharp, as contrast to the rest of the picture, which was slightly diffused because that was the cameraman’s particular style. But I used Dali for his draftmanship and the infinity which he introduces into his subject.” –Alfred Hitchcock

While the dream elements of the film are certainly memorable (despite being edited down to almost nothing by Selznick), it is probably the on-screen romance between Ingrid Bergman and Gregory Peck that attracted most viewers upon the film’s release. Modern critics seem to agree that the film is uneven and that the psychological theories the film is based upon are both dated and overly simplistic. That said, it certainly represented psychoanalytical theories of the era and there was a consultant on the set to make sure that the psychology in the film was more or less accurate. (The consultant was Selznick’s own psychoanalyst, Dr. May Romm.)  It seems unfair to judge the film on its somewhat archaic theories when the theories were relatively new at the time of the film’s release.

Spellbound was warmly received by critics. For example, Bosley Crowther wrote:

“This writer has had little traffic with practitioners of psychiatry or with the twilight abstractions of their science, so we are no in a position to say whether Ingrid Bergman, who plays one in her latest film, Spellbound, is typical of such professionals or whether the methods she employs would yield results. But this we can say with due authority: if all psychiatrists are as fruitful as hers are to Gregory Peck, who plays a victim of amnesia in this fine film which came to the Astor yesterday — then psychiatry deserves such popularity as this picture most certainly will enjoy.

For Miss Bergman and her brand of treatment, so beautifully demonstrated here, is a guaranteed cure for what ails you, just as much as it is for Mr. Peck. It consists of her winning personality, softly but insistently suffused throughout a story of deep emotional content of her ardent sincerity, her lustrous looks and her easy ability to toss off glibly a line of talk upon which most girls would choke…

…This story, we say, has relation to all the faith-healing films ever made, but the manner and quality of its telling is extraordinarily fine. The script, which was based on the novel of Francis Beeding, ‘The House of Dr. Edwardes,’ was prepared by Ben Hecht and the director was Alfred Hitchcock, the old master of dramatic suspense. So the firm texture of the narration, the flow of continuity and dialogue, the shock of the unexpected, the scope of image — all are happily here.

But, in this particular instance, Mr. Hecht and Mr. Hitchcock have done more. They have fashioned a moving love story with the elements of melodramatic use. More than a literal “chase” takes place here — more than a run from the police. A “chase” of even more suspenseful moment is made through the mind of a man. And in this strange and indeterminate area the pursuer — and, partially, the pursued — is the girl with whom the victim is mutually in love. Mr. Hitchcock has used some startling images to symbolize the content of dreams — images designed by Salvador Dali. But his real success is in creating the illusion of love… Not to be speechless about it, David O. Selznick has a rare film in Spellbound.” -Bosley Crowther (New York Times, November 02, 1945)

Spellbound went on to receive quite a few Academy Award nominations (including nominations for Best Picture and Best Director), and won the Oscar for Miklós Rózsa’s innovative score. It is indeed interesting to see how many of Hitchcock’s films that were attacked by critics upon their release are now considered classics (or even masterpieces), while many films that were once praised have fallen from grace.

Perhaps Spellbound isn’t among Hitchcock’s best work, but it is certainly solid entertainment.

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The Presentation:

2.5 of 5 MacGuffins

The disc is contained in the standard Blu-ray case with reasonably attractive cover art. It is nothing earth-shattering, but the artwork is more attractive than MGM’s DVD release of the same title.

There is no menu on the disc. To access the special features or change the audio settings, one must do so while the film is already playing. This is rather bothersome and extremely inconvenient. Some people might not mind this issue, but this film deserves a much better presentation.

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Picture Quality:

3.5 of 5 MacGuffins

This is certainly the best that Spellbound has looked on home video, but one cannot help but be slightly disappointed with this 1080p transfer. There is a fair amount of print damage, shadows are often a bit dull, and there are a few occasions of troublesome edge enhancement. Fortunately, none of these problems ever become distracting. As a matter of fact, the picture exhibits wonderful clarity and remarkable contrast. Grain levels also seem accurate for a film of this vintage.

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Sound Quality:

3 of 5 MacGuffins

The Mono DTS-HD track is also less than impressive. There seems to be a very slight layer of hiss throughout the length of the track and there is also an occasional pop or crackle. These flaws are never distracting and it is perhaps unfair to expect anything better. Milkos Rosza’s score sometimes swallows dialogue, but this issue is obviously source related and should not be held against the actual transfer.

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Special Features:

4 of 5 MacGuffins

Commentary with Thomas Schatz and Charles Ramirez Berg

Schatz and Berg’s discussion is both enthusiastic and lively. Their commentary often focuses on the structure of the film, but covers other territory as well. The downside of the track is that they also provide the occasional false statement (such as mistaking Saboteur for Sabotage).

Running With Scissors: Hitchcock, Surrealism and Salvador Dali – (SD) – (21:25)

This short documentary focuses on Salvador Dali’s contribution to Spellbound. The dream sequence is discussed at length and experts also touch upon the artist’s background.

Guilt by Association: Psychoanalyzing Spellbound – (SD) – (19:39)

Instead of focusing on the making of the film, this documentary touches upon the influence of psychoanalysis upon the production. Experts discuss some of the reasons that this subject matter made its way to the screen during this particular time. It should provide viewers with information that will enrich their enjoyment and understanding of the film.

A Cinderella Story: Rhonda Fleming – (SD) – (10:10)

Rhonda Fleming discusses how she was discovered and cast in Spellbound. She also discusses some of her more recent charity projects.

Peter Bogdanovich Interviews Alfred Hitchcock – (15:22)

This is a brief excerpt of Hitchcock’s interview with Peter Bogdanovich. The audio plays over a blank black screen. Hitchcock is always interesting and this excerpt is no exception.

Original Theatrical Trailer – (SD) – (2:07)

The Theatrical Trailer for Spellbound is included and is more interesting than many trailers from this period.

1948 Radio Version of Spellbound Directed by Alfred Hitchcock – (59:47)

This radio play is interesting, but it has nothing on the actual film. The beginning of this feature includes a list of credits and then the audio plays over a blank black screen.

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Final Words:

Spellbound is not considered one of Alfred Hitchcock’s better efforts, but it is quite charming and certainly worth including in your collection. If MGM’s Blu-ray release isn’t perfect, it is at least an improvement on previous home video transfers.

Review by: Devon Powell

Blu-ray Review: Notorious

Notorious cover

Distributor: MGM Home Entertainment

Release Date: 24/Jan/2012

Region: Region A

Length: (1:41:40.803)

Video: 1080P (MPEG-4 AVC Video, 38,521,567,097 Bytes)

Main Audio: DTS-HD Master Audio Mono (48kHz, 24-bit)

Subtitles: English, Spanish, and French

Ratio: 1.37:1

Bitrate: 37.39 Mbps

Notes: This title is also available on DVD. It was released individually and as part of The Premiere Collection boxed set (both with different cover art).

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This Blu-ray title is also available as part of a three film set entitled, The Classic Collection. This set has different cover artwork.

NOTORIOUS

“I was sailing on the Queen Elizabeth and I ran into a man called Joseph Hazen, who was an associate of producer Hal Wallis. He said to me, ‘I’ve always wanted to find out where you got the idea for the atom bomb a year before Hiroshima. When they offered us the Notorious script, we turned it down because we thought it was such a damn foolish thing to base a movie on’ … I answered, ‘Well, all it goes to show is that you were wrong to attach any importance to the MacGuffin.” –Alfred Hitchcock

Hitchcock was correct. Notorious isn’t a film about uranium ore. It touches on the classic theme of love versus duty, but it goes beyond that. The film explores relationship politics and the games that couples tend to play with one another. There is a scene between T.R. Devlin (Cary Grant) and Alicia Huberman (Ingrid Bergman) in which both characters are playing a game of emotional chicken. They love each other, but Devlin does not want to tell Alicia and later find out that she cannot be true to him. He has given Alicia her assignment. She is to bed a Nazi agent in order to find out secrets about his organization. She is angry at Devlin for not speaking up for her to his superiors. Why would he not tell them that she is the wrong woman for such a job? The truth is that he did speak up for her, but he refuses to admit this to Alicia. Devlin does not want her to accept the assignment and will not let these feelings be known. He worries about her virtue. He needs to know if he can trust her. Alicia wants Devlin to tell her that he believes in her and not to take the assignment because he loves her. Neither character will budge. They are testing one another and both of them fail the test. Alicia ends up bedding the agent and Devlin ends up bitterly resenting her choice (even though she is only doing it because she believes it is what he wants). These games intensify later when Alicia baits Devlin by telling him, “You can add Sebastian’s name to my list of playmates.” This leads to the following exchange:

Devlin: I can’t help recalling some of your remarks about being a new woman. Daisies and buttercups, wasn’t it?

Alicia: You idiot. What are you sore about? You knew very well what I was doing.

Devlin: Did I?

Alicia: You could have stopped me with one word, but no, you wouldn’t. You threw me at him!

Devlin: I threw you at nobody.

Alicia: Didn’t you tell me what I had?

Devlin: A man doesn’t tell a woman what to do; she tells herself. You almost had me believing in that little hokey-pokey miracle of yours, that a woman like you could change her spots.

Alicia: Oh, you’re rotten.

Devlin: That’s why I didn’t try to stop you. The answer had to come from you.

Alicia: I see… Some kind of love test.

Devlin: That’s right.

Even Alexander Sebastian (Claude Rains), plays emotional games with Alicia. At a dinner, Alicia apologizes to Sebastian for her behavior the last time that they were together. He responds by saying, “Well, then I’ll test your repentance immediately.

Sebastian worries that she has feelings for Devlin, and dances around the subject in order to get information out of her. He even pretends at one point to forget the issue and secretly continues worry. His proposal to Alicia is a form of manipulation. It sounds less like a romantic proposal and more like an oral chess move. When Alicia claims that Devlin means nothing to her, Sebastian’s replies, “I’d like to be convinced. Would you maybe care to convince me, Alicia, that Mr. Devlin means nothing to you?”

In The Art of Alfred Hitchcock, Donald Spoto describes the obvious motifs of bottles and alcohol in the film and then elaborates on Alicia’s habit of using alcohol to mask her emotional pain. Devlin is also protecting himself from emotional pain and this leads Alicia directly into the arms of Sebastian and puts her in danger. Self preservation becomes self destructive in Notorious. Of course, there are many ways to interpret this film. Great films are often rich enough for numerous interpretations. Everything is subjective (especially in a Hitchcock film).

NOTORIOUS (1)

The Presentation:

2.5 of 5 MacGuffins

The disc is contained in the standard Blu-ray case with reasonably attractive cover art. It is nothing earth-shattering, but the artwork is more attractive than MGM’s DVD release of the same title.

There is no menu on the disc. To access the special features or change the audio settings, one must do so while the film is already playing. This is rather bothersome and extremely inconvenient. Some people might not mind this issue, but this film deserves a much better presentation.

 NOTORIOUS (2)

Picture Quality:

4 of 5 MacGuffins

Notorious went through a digital restoration process to prepare the film for MGM’s DVD boxed set, The Premiere Collection. This Blu-ray contains the1080p transfer of that same restoration, but this high definition disc is certainly a step up from the DVD release.

Anyone who has seen the aforementioned DVD will know before upgrading what flaws to expect from the print of the film (since the same digitally restored print was used for the Blu-ray). There is a bit of flickering and a few instances of dirt on the print. There might also be a few minor scratches. These flaws are minimal and one has to really look for these issues in order to notice them.

The detail quality is quite nice and the contrast is solid with inky blacks and well balanced grays. There is quite a bit of grain, but this would be evident in the source. The picture is much sharper than its previous home video releases thanks to its high definition transfer. Overall, I must say that it is a rather appealing picture that represents the film nicely.

NOTORIOUS (4)

Sound Quality:

3.5 of 5 MacGuffins

Notorious is given a lossless, DTS-HD 2.0 Master Audio mix. This is probably the best I have heard the film sound. Dialogue is consistent and clear and music seems a bit more dynamic than I have previously heard it. There might be a bit of echo during certain moments of dialogue, but this never becomes distracting. The fidelity is decent for a film of its era and one feels that any issues present are inherent in its source. I did not hear any hiss or any other irritating additions to the soundtrack.

NOTORIOUS (8)

Special Features:

4 of 5 MacGuffins

Commentary by Rick Jewell (Dolby Digital Audio English, 192 kbps 2.0, 48 kHz, 192 kbps)

Jewell’s commentary is what he labels a “contextual commentary.” The track isn’t screen specific and a wide variety of information is discussed. Jewell wrote The RKO Story and much of the track discusses the studio’s history. He does briefly discus the political landscape of post war America. It is an interesting track and certainly worth a listen.

Commentary by Drew Casper (Dolby Digital Audio English, 192 kbps 2.0, 48 kHz, 192 kbps)

Casper’s commentary focused more on Notorious. His commentary is a little short on facts and instead focuses more on film theory. One might call it an oral essay. He does reveal a few interesting bits of information that most people will find interesting.

Isolated Music Track (Dolby Digital Audio English, 192 kbps 2.0, 48 kHz, 192 kbps)

This feature allows audiences to experience the film with only the music and sound effects.

The Ultimate Romance: The Making of Notorious – (00:28:15)

This is essentially a short “making of” documentary. It isn’t a very comprehensive documentary, but the information is extremely interesting. This is probably my personal favorite special feature.

Alfred Hitchcock: The Ultimate Spymaster – (00:13:09)

Hitchcock’s influence upon the espionage genre is discussed here. Most audiences will find this of interest.

The American Film Institute Award: The Key to Hitchcock – (00:03:19)

This is an extremely welcome addition to the list of features. It contains Hitchcock’s “thank you” speech and Ingrid Bergman’s presentation of the famous UNICA key to Alfred Hitchcock at AFI’s Lifetime Award ceremony honoring the director.

Hitchcock Interview – Excerpts from the director’s conversations with Alfred Hitchcock and Francois Truffaut(00:16:22)

These interview clips may sound familiar to those who have read Truffaut’s book length interview with Hitchcock, but it should remain interesting regardless. This audio-only feature plays over a blank black screen.

Hitchcock Interview – Excerpts from the director’s conversations with Alfred Hitchcock and Peter Bogdanovich – (00:02:19)

This is a brief excerpt of Hitchcock’s interview with Peter Bogdanovich. Hitchcock is always interesting and this is no exception. Again, the audio plays over a blank black screen. The interview is not as great (or as comprehensive) as Truffaut’s, but it is always nice to hear Hitchcock discuss his films.

Restoration Comparison – (00:02:54)

This short piece shows clips of the film before and after restoration (mostly in split screen).

Theatrical Trailer – (00:02:30)

I am glad that they included the film’s vintage trailer. I always find these interesting.

Complete Broadcast of the 1948 Lux Radio Theater Adaptation (starring Ingrid Bergman and Joseph Cotton) – (00:59:31)

This radio play is interesting, but it has nothing on the actual film. The beginning of this feature includes a list of credits and then the audio plays over a blank black screen.

NOTORIOUS (10)

Final Words:

Notorious is one of Alfred Hitchcock’s essential films. It should have a place of honor on everyone’s shelf. This recommendation might stem from the excellence of the actual film and not the Blu-ray release. Regardless, this high definition release is an improvement on the DVD (even without a main menu).

Reviewed by: Devon Powell