Showing posts with label film. Show all posts
Showing posts with label film. Show all posts

Sunday, April 11, 2021

The Twelve Lives of Alfred Hitchcock: An Anatomy of the Master of Suspense by Edward White

Alfred Hitchcock. His name alone can brings chills, fond spooky memories, discomfort, and nostalgia. 

I was still ten years old in 1963 when I saw The Birds from the back seat of the family car, parked at the local drive-in movie theater. My parents thought I would fall asleep.
 
I didn't. The scene of a man missing his eye balls gave me nightmares for years. 

The next year, in 1964, I was nearly twelve when I saw Marnie. I am sure my folks did not expect me to be asleep that time. I did not understand it, I had no concept of sexual dysfunction, so of course watched it every time it came on television, trying to puzzle out the feelings it raised in me. 

Alfred Hitchcock Presents (1955-1962) was a childhood staple. I learned the theme song, The Funeral March of the Marionette, on piano. It impressed the neighbor boy who was also a Hitchcock fan. I had story collections like Alfred Hitchcock's Ghostly Gallery: Eleven Spooky Stories for Young People.

Over the years, watching the classic films I had seen in the movie theater with my folks, including Vertigo. Rear Window, and North By Northwest, and those I only saw later on television, like Psycho, I understood things I could not as a girl.

And I wondered why in the world did Mom take me to see those films! Today, scenes of rape, obsession, murder, and suicide would not be considered proper fare for the under-13-year-old child.

As far as I can tell, the only harm these movies did me, other than nightmares about eyeless men, was a penchant for stylish suspense stories.  I knew that birds would not flock and attack me in reality, or crop dusters chase me. 

"He was a child, you know, a very black-comedy child" screenwriter Arthur Laurents said of Hitch. Perhaps that was his appeal to children. Raised on Dick and Jane while undergoing 'duck and cover' drills and watching adults glued to the news during the 1962 Cuban Missile Crisis, we were ready for the safety of theatrical horror.  War became daily television fodder and political assassinations punctuated our teen years and watching Hitchcock movies on television were not as shocking any more.

I had never explored the man behind the persona. The nine-line sketch Hitch walked into on his show was all I needed to know. The sketch, I learned in The Twelve Lives of Alfred Hitchcock, Hitch himself drew and propagated as part of his image.

Edward White's biography considers the man through the lens of twelve aspects of his personality, each fully explored through Hitchcock's life and art. 

On the one hand, the book is hugely informative and gave me a full picture of the man and the artist.

On the other hand, Hitchcock remains a mystery. He carefully controlled his persona, as deliberately and thoughtfully controlling our image of him as his films controlled our responses.

Was his marriage to Alma platonic? Did he remain a virgin expect for once, resulting in the birth of his daughter? Did he lunge at actresses and ask his secretary to 'erotically entertain' him? I saw Tippi Hendren talk about her experience. Can we tell the difference between the persona Hitch offered and truth?

He grew up with WWI air raids, the 1918 flu pandemic,  in a rough part of town, with a Catholic Education. There is a lot of horror to draw from with that background. 

And yet, Hitch was averse to conflict and could not deal with "complex emotions."  He would not use animal cruelty in his films and preferred to have his victims thrown off a building than shot as in American films. 

Still,  he was fascinated by violence and cruelty, grew up reading classic British crime fiction including G. K. Chesterton and John Buchan. He once expressed his belief that he would have made a great criminal lawyer.

I learned about his  middle class, Catholic childhood, his struggle with his appearance, the art and film and stories that inspired him.

The book is always fascinating, always interesting, and often disturbing. Especially when I ask myself what kind of person is a Hitchcock fan, as perhaps it reveals things about myself I would rather not consider.

I received a free galley from the publisher through NetGalley. My review is fair and unbiased.

The Twelve Lives of Alfred Hitchcock: An Anatomy of the Master of Suspense
by Edward White
W. W. Norton & Company
Pub Date: April 13, 2021 
ISBN: 9781324002390
hardcover $28.95 (USD)

from the publisher

A fresh, innovative biography of the twentieth century’s most iconic filmmaker.

In The Twelve Lives of Alfred Hitchcock, Edward White explores the Hitchcock phenomenon—what defines it, how it was invented, what it reveals about the man at its core, and how its legacy continues to shape our cultural world.

The book’s twelve chapters illuminate different aspects of Hitchcock’s life and work: “The Boy Who Couldn’t Grow Up”; “The Murderer”; “The Auteur”; “The Womanizer”; “The Fat Man”; “The Dandy”; “The Family Man”; “The Voyeur”; “The Entertainer”; “The Pioneer”; “The Londoner”; “The Man of God.” 

Each of these angles reveals something fundamental about the man he was and the mythological creature he has become, presenting not just the life Hitchcock lived but also the various versions of himself that he projected, and those projected on his behalf.

From Hitchcock’s early work in England to his most celebrated films, White astutely analyzes Hitchcock’s oeuvre and provides new interpretations. He also delves into Hitchcock’s ideas about gender; his complicated relationships with “his women”—not only Grace Kelly and Tippi Hedren but also his female audiences—as well as leading men such as Cary Grant, and writes movingly of Hitchcock’s devotion to his wife and lifelong companion, Alma, who made vital contributions to numerous classic Hitchcock films, and burnished his mythology. And White is trenchant in his assessment of the Hitchcock persona, so carefully created that Hitchcock became not only a figurehead for his own industry but nothing less than a cultural icon.

Ultimately, White’s portrayal illuminates a vital truth: Hitchcock was more than a Hollywood titan; he was the definitive modern artist, and his significance reaches far beyond the confines of cinema.

Tuesday, February 21, 2017

High Noon: The Hollywood Blacklist and the Making of an American Classic

You know the film. Sheriff Kane has married a Quaker beauty and is hanging up his gun and turning in his badge to run a shop. Then Kane learns that a gang is out to get even--Kane's life to pay for his arrest of their leader, now out of jail.

Get out of town, everyone advises. This two-bit town wasn't worth dying for.

Kane knows you can't escape the past. He had to face the danger and end it once and for all. As he tries to form a posse Kane discovers he is alone; everyone else in town justifies retreating into their protective shells.

Clocks tick off the minutes until noon when the train carrying his nemesis arrives. Kane is left alone on the empty street of a town without moral conviction, friendless; even his pacifist wife is leaving town without him. It is Kane alone against four armed men bent on murder.

The simple song with the hoofbeat rhythm tells the story, and its melody morphs and evolves, becoming menacing and persistent, until it is High Noon.

Stanley Kramer owed United Artists one more film to fulfill his contract, then he could get on making movies under his own studio. Screenwriter Carl Foreman had been working on an idea for several years, High Noon. They secured the over-the-hill but still box worthy actor Gary Cooper to play the lead, and newbie Grace Kelly to be his wife.

No one thought the film would amount to much. Cooper's acting lacked oopmh, Kelly was too young, and, used to emoting to the back row in the theater, over-acted. The early film version was deemed awful and needed cutting and remaking.

I was thrilled to read Glenn Frankel's book High Noon: The Hollywood Blacklist and the Making of an American Classic. High Noon is a favorite film in my household. I know it scene by scene. Frankel's account of how the film was made was fascinating and exciting. Frankel portrays Gary Cooper as a handsome Lothario, also described as one of the nicest, greatest guys; Carl adores Coop.  Frank Cooper was the son of a Montana lawyer who wanted to be an artist but could not afford art school. He went to Hollywood after learning they needed stunt artists. He was a quick study. His handsome good looks caught the eye of Clara Bow for her famous movie It. Gary Cooper was born.

What really makes this book relevant and important is learning how the Cold War fostered an era of fear that allowed wholesale persecution.

Before High Noon was complete Carl Foreman's name was given to the House Un-American Committee as a member of the Communist Party. Carl had been a member, drawn to its Anti-Fascism and promotion of the rights of minorities, Jews, immigrants, and unions. Carl had signed an oath in 1950 saying he was not (then) a member of the Communist Party.

The Communist Party of the early 20th c attracted progressive liberals and intellectuals who supported such 'un-American' ideals as unionizing and workers rights; their agenda did not include the overthrow of the United States. The Communist Party was seen as a social club, a place for making connections. When Russia became an ally against Hitler, Hollywood was called upon to portray positive images in films like Song of Russia and Mission to Moscow.

The House Un-American Committee 'quizzed' accused Communists, rewarding those who cooperated with reprieve, but not always forgiveness. Milton Berkeley gave the Committee 150 names and was their darling; yet when his son graduated from Yale he was denied acceptance into the Navy's Officer Training Program, blacklisted because his father had once been a Communist!

Carl could have played their game, admit his sins and name several Communist party members they already knew about. He'd be off the hook, perhaps with his career damaged, but not over. Carl would not bend his convictions; he'd rather go to jail. Alone and afraid he faced the tribunal. They were not pleased.

Carl was a liability. Kramer fired Carl; no studio could afford to be associated with Communism. Cooper, a Republican anti-Communist, believed in and supported Carl and wanted to help him start his own company; the deal fell through. Even Cooper couldn't defeat the HUAC and stand up to the threat of blacklisting. Foreman went to England and went on to write The Bridge on the River Kwai, The Guns of Navarone, The Mouse that Roared, Born Free, and Young Winston.

The HUAC's abuse of power was finally addressed by the Supreme Court in an a1957 ruling, stating that "There is no general authority to expose the private affairs of individuals without justification in terms of the functions of Congress. Nor is the Congress a law enforcement or trial agency." Senator Joseph McCarthy's fall also damaged the HAUC's credibility.

Carl Foreman had lost his job; his name was expunged in the credits of High Noon and The Bridge on the River Kwai; his passport had been revoked; and his marriage damaged. And yet years later, back in America, he ran into John Wayne, an ardent anti-communist. They embraced as old friends. When Carl asked how he could accept an old enemy so nicely he replied that Wayne was a patriot and had only been doing what he thought was right.

In times of national stress fear manifests in attacks against perceived threats, which in hindsight are seen as ill-advised, unconstitutional, and morally suspect. The red-baiting witch hunts of the 1950s were such a time. Frankel's book reminds us of the cost of allowing our fear to negate the rights guaranteed by our laws and warns against the misuse of power.

I received a free ebook from the publisher through NetGalley in exchange for a fair and unbiased review.

High Noon
Glenn Frankel
Bloomsbury
Publication February 21, 2017
$28 hard cover
ISBN: 9781620409480