As reviewed here.
I love Olivier's brusqueness (tempered with tenderness), Fontaine's timidity, Anderson's disdain.
Hadn't quite realised the significance of the dog.
The house is one great big model / collection of sets, all artfully lit by George Barnes, whose trademark (in this anyway) appears to be the use of gigantic shadows of things through windows everywhere. And there's more than just that which prefigures Citizen Kane, such as the darkening background before a flashback and the ending of flames.
It was Hitch's longest film to date, and does feel a bit draggy towards the end. But it's very well directed and is indeed a psychological romantic (almost supernatural) thriller of the finest order.
It was the third Gladys Cooper film we saw in a week.
Where is Hitchcock?
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