Sunday Morning Special: Alfred Hitchcock on “What’s My Line?”

When we think of Alfred Hitchcock, we tend to have images of a fearsome tyrant.  However, many considered Hitchcock’s bark to be worse than his bite.  He was, by some accounts, a pleasant teddy bear.  Here’s an unusual look at Hitchcock’s more playful side.

Film of the Week: Notorious, 1946

Grant and Bergman
RKO

By, 1946, Alfred Hitchcock had made several films for David O. Selznick, and, every step of the way, had to answer to Selznick’s many demands. Selznick believed that he and he alone should be in charge of every picture made for his studio, and relished in writing stacks of memos in which he dictated everything from casting to costume choices. Similarly, Alfred Hitchcock felt that he (and he alone) was in charge of the pictures he was directing and bristled at even the slighted interference from anyone.

As Hitchcock toyed with the idea of making a picture about a female spy who was essentially sold into sexual slavery by her government (as well as the man she loved), he found himself increasingly bothered by Selznick who tried to control the director at every turn. Hitchcock was not so secretly relieved when failing finances and a distinct lack of interest in the project caused Selznick to sell the project to RKO for $800,000. Unfortunately for Hitchcock, it seems that didn’t mean that Selznick had any idea of not interfering. Selznick’s deal also gave him 50% of the picture’s potential profits. The despotic producer felt that that 50% entitled him to still have a say in the film even though it was being made at another studio. Selznick kept insisting that Hitchcock cast Joseph Cotten as the male lead beside Ingrid Bergman. They’d worked well together in Gaslight, after all. But, Hitchcock wasn’t willing to bend. He cast Cary Grant—his top choice all along, and gave us the first pairing of Grant and Bergman—a successful partnership that would continue for many years.

Rains, Grant and Bergman
RKO

Production on Notorious began in 1945 and wrapped in 1946. The story concerned a young woman (Ingrid Bergman) whose father was tied to Nazi Germany. She was pressed into service as a spy by an American agent (Cary Grant) with whom she’s fallen in love. Their relationship is complicated when, as part of her mission, she’s forced to marry the man on whom she’s spying (played with typical brilliance by Claude Rains). The cast is completed with Madame Konstantin—a German actress who was relatively unknown to American audiences—as Rain’s cruel mother.

Konstantin, Bergman and Rains
RKO

The relative freedom from Selznick allowed Hitchcock to continue to perfect the camera angles and trickery that became his hallmark. Dramatic zooming shots from staircases and dazzling close-ups define the visual style of the film which is at once suspenseful and romantic. Many—including Hitchcock’s daughter—consider Notorious his finest work.

If you’ve not seen it, you really should. It’s a visually and emotionally gripping film.

Film of the Week: Alfred Hitchcock’s “Shadow of a Doubt,” 1943

Universal Pictures

In a seedy boarding house in Newark, New Jersey, a world-weary man stretches out on his narrow bed. His landlady interrupts his rest and scolds him for leaving his money out in the open. She informs him that two men came looking for him. The man is angered and ventures out into the glare of the city, walking past his followers in defiance.

Meanwhile, In Santa Rosa, California—the picture of suburban America—Charlotte “Charlie” Newton is also stretched out on her bed. She’s bored—bored with everything in her young life. She wishes they could have some excitement, some culture. Young Charlie is thrilled when they receive a telegram from her Uncle Charlie Oakley—her mother’s younger brother. He’s coming to town. Charlie thinks that’s just what they need.

Universal Pictures

Like her mother, Young Charlie is enchanted by the man for whom she was named. He brings extravagant gifts and throws around his money. Most importantly, his presence has not only brought some excitement to Santa Rosa, but has brought so much joy to Young Charlie’s mother. So what if Uncle Charlie acts a little peculiar sometimes? Great men are often peculiar. Yet, why doesn’t Uncle Charlie want his photograph taken? And, what’s behind his strange rant in which he declares that wealthy women should be slaughtered like animals?

When two detectives come looking for one of two men they suspect to be “The Merry Widow Murderer” who seduces and kills wealthy widows, Charlie refuses to believe that her uncle could have anything to do with it. But, then, there are the “accidents.” And, Charlie realizes that her uncle is more than just an exciting relation.

Universal Pictures

Alfred Hitchock considered Shadow of a Doubt his favorite film. Many call it his first masterpiece. It is, certainly, Hitchcock’s first truly “American” film. Others he directed in the U.S. were still set abroad. Hitchcock was fascinated with the idea of the quintessential American town. He contracted famed American playwright, Thornton Wilder—known for his dramas set in small town America—to write the script. Hitchcock and his wife also contributed ot the screenplay. The town of Santa Rosa was selected as the setting of the film because, to Hitchcock, it could have been anywhere in the Unites States. Hitchcock made the uncharacteristic decision to shoot the film on location—something he rarely did. While some sequences were later reshot in a studio on a recreated set, the majority of the finished film was shot in Santa Rosa.

Universal Pictures

The cast of Shadow of a Doubt was exceptional. Teresa Wright and Joseph Cotton starred as Young Charlie and Uncle Charlie respectively. Wright was reuninted with her The Little Foxes co-star, Patricia Collinge, who played Young Charlie’s mother. Rounding out the cast were a young Hume Cronyn as a curious neighbor and Macdonald Carrey as the detective/Young Charlie’s love interest.

Universal Pictures

This film is full of classic Hitchcock-ian touches from the black smoke which issues from the train as it arrives with Uncle Charlie to the smooth and steady camera work as we focus on Uncle Charlie standing menacingly atop the front steps. With a score by Dimitri Tiomkin the result is a chilling and suspenseful 108 minutes. If you’ve not seen Shadow of a Doubt, I would highly recommend it. Enjoy the full picture below...