metrospective

Good Evening...

by Adam Goldstein 
goldstea@mscd.edu

In the upcoming film series, "Dial S for Suspense," the Denver Art Museum's fall film series pays tribute to one of the most innovative and commercially successful masters of suspense and horror on film, Alfred Hitchcock. The series will include 7 films that span the director's diverse career, from his low-budget British beginnings to his culturally synonymous staples.

The Lady Vanishes (1938) - September 13

One of Hitchcock's most cherished early films, "The Lady Vanishes" contains the cinematic nuances that would come to define the filmmaker's career. This thriller is noteworthy not only for its ingenious use of limited resources and its masterful mix of suspense, but also for its historical place in Hitchcock's oeuvre. Indeed, this was the last film Hitchcock would make in Britain before moving to the high-profile world of Hollywood.

The plot revolves around a young English girl, played by Margaret Lockwood, and her train ride across Eastern Europe. In typically Hitchcockian fashion, the disappearance of a kindly old woman, played by Dame May Whitty, embroils our heroine in a multi-layered mystery, which she must unfurl with the aid of an earnest young musician, played by Michael Redgrave. Over the course of their investigation, Lockwood and Redgrave traverse the train and meet with its many passengers, simultaneously uncovering clues and quirky personalities.

The film operates as both a mystery and, more surprisingly, a comedy, as Lockwood's quest to reveal the truth spotlights a wide array of characters and confusions. Although "The Lady Vanishes" boasts some genuinely eerie and suspenseful moments, it is the unexpected and effective use of humor that distinguishes it from Hitchcock's other masterpieces.

The 39 Steps (1935) - September 20

Loosely based on John Buchan's novel, this tale of an Everyman falsely accused of a crime he didn't commit would become the thematic model for many of Hitchcock's later films. In fact, many consider this to be the germ for "North by Northwest," one of the director's most successful works. Although "The Lady Vanishes" served as the director's last homegrown thriller before his relocation to Hollywood, "The 39 Steps" is the film that garnered international attention for the up-and-coming director and established his reputation as an unrivaled master of suspense.

Starring Robert Donat as the typically dapper and dauntless hero, the story has the protagonist running all over the U.K., from London to the Scottish Highlands, in his attempts to bring his enemies to justice. Accompanied by the sultry Madeleine Carrol, Donat must track down a ring of international spies over the course of four days in a desperate run to clear his name.

Though the twists and turns may seem formulaic for modern audiences, it is only because this film would define the spy genre for generations. As one of Hitchcock's early, low-budget outings, "The 39 Steps" provides an insightful view into his later films while delivering its own shocks and thrills.

Shadow of a Doubt (1943) - September 27

Widely regarded as one of Hitchcock's most overlooked masterpieces, "Shadow of a Doubt" was also purported to be the director's personal favorite. More than its bigger budget and more recognizable cast, this film differs from Hitchcock's earlier British films in its atmospheric mastery. Mixing a sense of suburban malaise with a saccharine sense of 1950s America, Hitchcock uses these two elements as the perfect cinematic counterpoint. Stripping back the veneer of idyllic suburbia with his lens, the director exposes a seedy and disturbing reality that seethes beneath the surface. In his unorthodox use of a familiar setting, Hitchcock creates an almost palpable ambience of suspense.

In an effort to elude the police, the Merry Widow Murderer, played by Joseph Cotten, bunks with his sister's family in Santa Rosa, a picturesque small town that is almost Puritan in its austerity. The stakes are raised when his doting niece, played by Theresa Wright, suspects that her role model has more skeletons in his closet than he'd like to admit.

"Shadow of a Doubt" stands as one of Hitchcock's best American films and, although it receives less acclaim, deserves a place right alongside "Psycho" and "The Birds."

Notorious (1946) - October 4

As one of Hitchcock's first forays into the realm of romantic thriller, this film suffers somewhat from its age and cultural context. Made under the restrictions imposed by the Hayes Code, it is restrained by forces outside of the filmmaker's control. Still, Cary Grant and Ingrid Bergman manage to push the envelope in their love scenes, while Claude Rains' portrayal of the villain is remarkably humanizing and multi-dimensional.

An American undercover spy (Grant) and his partner, a German expatriate (Bergman) are embroiled in a complicated, international conflict that incorporates all the narrative elements of the spy genre. With the lush city of Rio De Janeiro as the background, the two protagonists must investigate a criminal mastermind (Raines) while protecting their own secrets.

At times formulaic and dated, "Notorious" is more a preview of greater cinematic feats to come from the team of Hitchcock and Grant, than an independently cogent thriller. Still, the film serves as a fascinating gem for Hitchcock buffs and mystery fans alike.

Vertigo (1958) - October 11

One of the main strengths of this film is also one of its biggest weaknesses. "Vertigo" functions as a thriller, a love story, a precise character study, and a dreamlike venture into the supernatural. Hitchcock juggles all of these elements with surprising success, but loses impact with this very complexity. Still, the film's ambitious sampling of diverse moods and motifs would serve as a menu for later imitators. What's more, its very refusal to fit into one singular category makes it unique.

James Stewart plays a San Francisco detective who's hired to tail an old acquaintance. This starts a bizarre and suspenseful series of events that only exacerbates Stewart's psychological weakness: vertigo.

Although the first half of the film seems hokey and predictable, Hitchcock comes through at the end, stamping the film with his trademark brand of innovation and shock.

Psycho (1960) - October 18

Perhaps one of Hitchcock's most treasured and well-known films, "Psycho" serves as a classic of the horror genre and a cultural staple. This is one of those rare films whose impact outlasts its context, and whose effect does not diminish with age. In terms of photography, plot and sheer suspense, this movie continues to set the standard and has yet to be rivaled. This was one of Hitchcock's apogees-one of the films that successfully incorporated all the best elements that had marked his prior films. Hitchcock was able to balance the expanded resources of Tinsel Town with a sincere commitment to his art. What's more, it carved out a new genre, the slasher flick, in a tasteful and utterly believable telling.

The tale of the Norman Bates, the unfortunate motel employee played by Anthony Perkins, and his more unfortunate lodger (Janet Leigh) contains elements of the classic, film-noir thriller, while incorporating a much more unsettling and deranged undertone. Leigh's flight from the law establishes a well-worn plot path, but the introduction of Perkins' deranged night manager skews the narrative onto an unpredictable, and wholly terrifying track.

"Psycho" remains an unsurpassed piece of film history, both for its innovative technique and ingenious content. This is Hitchcock at his best, pulling the strings and turning the screws that set the viewer on edge. Here we see the master who was able to turn a close-up of chocolate syrup into an indelible and unparalleled moment in the history of film.

The Birds (1963) - October 25

Often coupled with "Psycho" as one of Hitchcock's best films, "The Birds" stands as one of Hitchcock's most stunning uses of characterization to support a tenuous premise. Without his fine attention to detail and setting, the idea of a flock of ravenous birds may not have taken off with any success. It is a testament to Hitchcock's ability as a storyteller and master of illusion that he is able to deliver such a fantastical plot with such unerring credibility and spookiness. While "Psycho" relies on understated effects and carefully plotted camera positions for most of its impact, "The Birds" pulls no punches, portraying the aviary frenzy in all its squawking, flapping glory. In 1963, depicting a flock of flesh-eating birds was no small task for a director. Hitchcock did not have the luxury of computer graphics to paint his bloody portrait. Instead, he relied on blue screens, sound effects and puppets to pull off his vision.

Tippi Hedren's performance as one of the beleaguered bird victims is, of course, secondary to the monsters themselves, but she still deserves credit for her strength in developing her character against such a distracting setting. Similarly, Rod Taylor provides a personable anchor to the fantastical attacks, rooting the film in a tasteful base of human drama.

The soundtrack of this film also works as one of its stars. Forgoing background orchestral music, Hitchcock chose instead to focus on the sounds of the birds themselves. The eerie songs and concerted crows of the malevolent swarm provide an unnerving tableau for the images. Along with Hitchcock's unyielding eye for spooky detail and unsettling visuals, this element will have even the most stalwart viewer watching the skies with unease.