Archive for the 'FILM ART (the book)' Category
Once again the fall semester approaches, and educators are pondering their film-class syllabi. As always, we have prepared a guide to our blog entries from the past year, with suggestions about how some of them might usefully be assigned alongside chapters of Film Art: An Introduction. Readers who aren’t teaching could use this guide to alert them to entries they may have missed.
David is at work on a book on 1940s Hollywood cinema, which he finds a strange and innovative era. Several of his entries for this past year reflect that focus.
Chapter by chapter
Chapter 1: Film as Art: Creativity, Technology, and Business
Last year several of our entries dealt with the conversion of exhibition from film to digital copies. That conversion has progressed until 35mm houses are now relatively rare. We take a look at a theater still showing movies on film in “Dispatch from another 35mm outpost. With cats.”
Chapter 3: Narrative Form
Sometimes producers force scriptwriters to change their scripts. These changes aren’t always bad. They can lead filmmakers to find ingenious solutions that actually enhance the result. We look at some examples from the 1940s in “Innovation by accident.” (As in Kitty Foyle, above.)
Two professors have already told me they were going to teach Gravity this coming semester, assigning our two entries on the film. These could be used for a variety of chapters: the first one, “GRAVITY, Part 1: Two characters adrift in an experimental film” is on the narrative of the film and could most obviously assist in teaching Chapter 3. It might also be a helpful reference, however, for Chapter 10, in discussing the boundaries between experimental and mainstream cinema.
The differences between suspense and surprise is a common topic in discussing narratives. We look at Hitchcock’s famous distinction between them and where he got it in “Hitchcock, Lessing, and the bomb under the table” and “Hitchcock Again: 3.9 Steps to Suspense.”
For advanced students, you might consider assigning an essay David has posted on his website proper, “Three Dimensions of Film Narrative.” He elaborates on this essay with examples from Scorsese’s The Wolf of Wall Street in “Understanding film narrative: The trailer.”
Modernism involves playing with plots, sometimes in challenging ways. In another entry for advanced students, we examine such playfulness: “Pulverizing plots: Into the woods with Sondheim, Shklovsky, and David O. Russell.”
During the 1940s, filmmakers sometimes explicitly broke their films down into chapters. That tradition has not disappeared–especially in the films of Quentin Tarantino. We explore some connections in “The 1940s are over, and Tarantino’s still playing with blocks.”
Chapter 4: The Shot: Mise-en-scene
Staging is an important aspect of acting. We give some historical notes about how characters have been set up to face each other in a two-shot composition in “Where did the two-shot go? Here.”
Few directors combine staging, setting, composition and acting as brilliantly as Kenji Mizoguchi. We explore his extraordinary mise-en-scene in “Mizoguchi: Secrets of the exquisite image.” (Above)
Chapter 5 The Shot: Cinematography
In anticipation of Gravity‘s release, we wrote about long takes in Alfonso Cuarón’s earlier films and in particular Harry Potter and the Prisoner of Azkaban in “Harry Potter treated with gravity.”
Our second entry on Gravity, “GRAVITY, Part 2: Thinking inside the Box,” could be taught in connection with the entry on Harry Potter and the Prisoner of Azkaban in discussing long takes. It also, however, exemplifies cutting-edge techniques in digital cinematography, special effects, and 3D.
Wes Anderson’s The Grand Budapest Hotel wonderfully exemplifies variations on aspect ratios. Its style is also based on framing perpendicularly to the backs of sets (earlier explored in “Shot-consciousness”). See “THE GRAND BUDAPEST HOTEL: West Anderson takes the 4:3 challenge.” (Above)
Chapter 6: The Relation of Shot to Shot: “Editing”
At the Vancouver International Film Festival, we caught Walter Murch’s lecture on the industry’s transition to digital editing. Here’s our write-up: “Film-industry pros share secrets in Vancouver.”
Chapter 8: Summary: Style as a Formal System
Teaching about auteurism and style? Kristin met Alexander Payne last year at Il Cinema Ritrovato. Then he came and visited Madison this past spring. We blogged about that visit and his films in “Alexander Payne’s vividly shot reality.” He was still talking to us at Il Cinema Ritrovato this year, so he must have liked the entry!
Chapter 10: Documentary, Experimental, and Animated Films
We wrote an entry on a major recent documentary film, “I am a camera, sometimes: Tim’s Vermeer.” Also quite teachable.
Chapter 11: Film Criticism: Sample Analyses
If you show Tokyo Story, or any other Ozu film, your students might be interested in Ozu’s influence up to the present day. Our entry “Look well! Look again! Look! (For Ozu)” explores this subject.
Apart from the entry on The Grand Budapest Hotel linked above, we’ve written an analysis of his previous film in “Moonrise Kingdom: Wes in Wonderland.” His recent films, starting with Fantastic Mr. Fox, strike us as very teachable.
David has written several entries on some major American critics of the 1930s and 1940s–Otis Ferguson, James Agee, Parker Tyler, and Manny Farber–and their approaches to analysis and evaluation. These would be suitable for students interested in writing film criticism themselves.
and finally “The Rhapsodes: Afterlives”
Chapter 12 Historical Changes in Film Art: Conventions and Choices, Traditions and Trends
If you are looking for silent films to show as illustrations of German Expressionism, French Impressionism, silent classical Hollywood, or very early experimental cinema, try the latest entry in our surprisingly popular annual summary, “The ten best films of …1923.” Not all the films are available on DVD at this point, but the ones that are are well worth seeking out.
Examples of early film and the transition to more classical storytelling can be found in our summer entry, “What’s Left to Discover Today? Plenty.”
An update to the Hong Kong section of the chapter can be found in our entry on Wong Kar-wai’s latest film: “THE GRANDMASTER: Moving forward, turning back.”
For information on some recent DVD and Blu-ray releases, see “Recovered, discovered, and restored DVDs, Blu-rays, and a book.”
We’ve put up an ebook on Christopher Nolan, based on updated versions of our blog entries, for $1.99. It includes some brief extracts from Nolan films, though you can opt for a version without the clips. For a description, see “Our new e-book on Christopher Nolan!
Don’t forget that we also have videos available for you to show or assign. For Chapter 3, on narrative, there’s “Twice Told Tales: Mildred Pierce,” including an imbedded Vimeo comparison of scenes repeating a crucial action. Chapter 6’s discussion of editing is supplemented by our most popular video, “Constructive Editing: Robert Bresson’s Pickpocket (1959).”
For the history chapter (Chapter 12), there are two video lectures: an entry on “How Motion Pictures Became the Movies 1908-1920″ and one on “CinemaScope: The Modern Miracle You See Without Glasses” (which could also be used in connection with the Cinematography chapter).
Gravity, production photograph
Rebel without a Cause (1955).
It’s time for our annual scan of the past year’s entries, pointing particularly to ones that might be useful to teachers and students using Film Art: An Introduction. For occasional readers of the blog, this post might be useful in catching up on items you might have missed.
This year we’ve added four video essays and lectures to our site. These have entailed a lot of effort, but David has enjoyed making them as free complements to the briefer, walled-garden video essays accompanying our latest edition of Film Art.
We’re also delighted to include some entries based around encounters we have had with filmmakers (some of whom we met as a result of our blog) and two contributions from guest experts. Looking back, we are as usual surprised at how much material has accumulated in one year. The summer’s new movies may on the whole have disappointed, but obviously there are a lot of other interesting topics to explore outside the multiplex.
I’ll go through Film Art chapter by chapter, suggesting relevant entries for each, and end with a couple of entries on new DVDs that teachers might want to add to their personal or departmental libraries.
Chapter 1 Film Art and Filmmaking
Last year, David’s “Pandora’s Digital Box” series dealt with the transition from film-based to digital-based production and distribution. (That series was revised and expanded into a book.) The original series is updated in “Pandora’s Digital Box: End times.”
This year, David looked back on some historical formats. In “The wayward charms of Cinerama,” he reviewed Flicker Alley’s DVD release of This is Cinerama and took the occasion to analyze the peculiar perspective relations created by the triple-camera system. How the West Was Won and The Wonderful World of the Brothers Grimm receive some stylistic scrutiny.
Super 16mm is still a significant gauge for independent filmmaking, but regular 16mm as has largely been replaced by DVD and Blu-ray for classroom and film-buff viewing. David waxes nostalgic concerning the charms of 16mm and its importance in our own film-watching careers in “Sweet 16″ and “16, still super.” For those too young to have seen 16mm on a screen, these recollections might make it a bit more vivid.
Nothing conveys the tangible work of film production like a visit to a working set. Our colleague James Udden, expert on Taiwanese cinema, had an opportunity to watch a major contemporary director in action and reports for us in “Master shots: On the set of Hou Hsiaeo-hsien’s THE ASSASSIN.”
Publicity is a big part of the distribution of a modern blockbuster. In “Jack and the Bean-counters,” I examine the missteps in the campaign for Jack the Giant-Slayer and talk about how the studios avoid cooperating with fans eager to provide valuable free online publicity for their favorite films.
Chapter 3 Narrative Form
Films often use repetition in an obvious way to help us easily follow a story. But what about filmmakers who introduce more subtle similarities that challenge our memories? We examine two such films made in South Korea, In Another Country and Romance Joe, in “Memories are unmade by this.”
Repetition is also central to Mildred Pierce, where a murder that happens at the beginning of the film is seen again, with different shots and timings, near the end. We look at how the film fools us without our noticing it. The sequences are here:
“Twice-told tales: MILDRED PIERCE” analyzes the different functions and effects of the two sequences.
Art films and classics are not the only films with intriguing storytelling. “Clocked doing 50 in the Dead Zone” is an analysis of David Koepp’s Premium Rush as a short film that packs a lot of action and clever narrative tactics into its running time. That entry led to a meeting with Koepp and a follow-up entry on his approach as screenwriter and director. See the Chapter 8 section.
Chapter 5 The Shot: Cinematography
Seeing some recent Asian films at the 2012 Vancouver International Film Festival led to “Stretching the shot,” some thoughts on functions for the long take.
A lot of the films we see in theaters today are made in anamorphic widescreen processes, and by now letterboxing for home-video is familiar to all. David has often lectured on the history and aesthetics of the first successful anamorphic process, CinemaScope. Now that PowerPoint lecture is available on his Vimeo site. See “Scoping things out: A new video lecture” for an introduction and link. (It’s about 53 minutes long, so perhaps something to assign your students to watch on their own.)
Chapter 6 The Relation of Shot to shot: Editing
“News! A video essay on constructive editing” introduces the additionof an analysis of editing in Robert Bresson’s Pickpocket to Vimeo. It’s about 12 minutes long, suitable for classroom use or assignment for students to watch outside of class. Our thanks to our friends at the Criterion Collection for their permission to use the excerpts from Pickpocket.
How much can a single cut reveal about the power of editing? “Sometimes two shots …” takes a close look at a brief passage from August Blom’s The Mormon’s Victim, a 1911 Danish one-reel film and finds a lot going on in it.
Some students might have trouble recognizing jump cuts. “Sometimes a jump cut …” looks at some examples from the martial-arts action scenes from two of King Hu’s masterpieces, A Touch of Zen and Dragon Gate Inn. These are quite different in look and function from the Breathless examples given in Film Art–and you can clearly see the splices.
Chapter 7 Sound in the Cinema
Faced with innovations in sound technology, we turned to our friend and colleague Jeff Smith. His “Atmos all around” is an excellent introduction to the new system. Unlike most surveys of technology, his piece analyzes in considerable detail how artists use it–here, in Pixar’s Brave.
Chapter 8 Summary: Style and Film Form
Alfred Hitchcock is undoubtedly one of the most frequently taught filmmakers, since his work is not only stylistically elegant, but it’s easy for students to pick up on. One reason for this is that he is fond of flashy set pieces, scenes that are skillfully composed to be the high points of a film. We examine his skill in this regard in “Sir Alfred simply must have his set pieces: THE MAN WHO KNEW TOO MUCH.”
On the other hand, Hitchcock is equally good at subtle touches. Some might consider his 3-D film, Dial M for Murder, to be a bit theatrical, since much of its action is confined to a single set. Yet as we argue in “DIAL M FOR MURDER: Hitchcock frets not at his narrow room,” the director finds many small, creative ways to frame and edit his shots in ways that are purely cinematic.
As we emphasize in Film Art, filmmaking is based on a huge number of creative decisions. During this past year, encounters with two practitioners gave us a chance to learn how they went about making some of these choices. Tim Hunter, director of River’s Edge (1987) and numerous episodes of television series like Twin Peaks and Breaking Bad, visited Madison. “Auteurist on the sound stage” discusses how Hunter plans ahead where he will place his camera, since the fast pace of television production allows little time for such decisions on the set. He also talks about tailoring his style to that of the specific television series he is working on.
In June David visited screenwriter and director David Koepp in his New York office. Koepp is best known for his work with Steven Spielberg, including the scripts for Jurassic Park and War of the Worlds, but he has also directed films. “David Koepp: Making the world movie-sized” discusses how Koepp finds the “Gizmo,” or basic premise, for big blockbusters and how he compresses the plots of best-sellers for the screen. He also talks about narrowing down the many choices available to a filmmaker, creating constraints that will allow him to find the best choices for a given situation–with camera placement again being a basic consideration.
This past year two major contemporary directors died: Tony Scott, director of flashy, violent Hollywood action films, and Theo Angelopoulos, maker of austere, stately dramas about Greek history and politics. We find some surprising stylistic parallels between their work, despite their obvious differences, in “Tony and Theo.”
Chapter 9 Film Genres
Since The Blair Witch Project appeared in 1999, there has developed a sub-genre of horror films masquerading as found-footage documentaries. “Return to Paranormalcy” focuses on the successful series of films that began in 2007 with Paranormal Activity and explores how each successive film has managed to vary the point-of-view conventions in order to maintain audience interest.
This chapter of Film Art contains a “Closer Look” box examining “Creative Decisions in a Contemporary Genre: The Crime Thriller as Subgenre.” Our entry “SIDE EFFECTS and SAFE HAVEN: Out of the past” looks at two more recent examples of this genre, focusing on how their conventions revive and vary conventions that had been introduced in 1940s Hollywood films in this same genre. Here’s a good example of genre conventions coming and going in cycles.
For most people, the name “Kurosawa” conjures up only the venerated Akira Kurosawa, director of classics like Seven Samurai and Red Beard. But there is a younger Kurosawa, Kiyoshi, a contemporary filmmaker. While in Brussels in July, David had a chance to attend a screening of his Shokuzai. In “The other Kurosawa: SHOKUZAI,” David puts Kiyoshi Kurosawa in his historical context and analyzes the film as a combination horror film and crime thriller, as well as including some stylistic analysis.
Chapter 10 Documentary, Experimental, and Animated Films
Shirley Clarke was a major director of experimental and documentary films. Portrait of Jason, her feature-length recording of the recollections and comments of a gay black man was re-released in a restored version last year. “I’ll never tell: JASON reborn” discusses its avant-garde approach to recording its subject’s account of what may or may not be the truth. The entry also details the restoration process, which involved material Clarke deposited at the University of Wisconsin-Madison’s archive, the Wisconsin Center for Film and Theater Research.
Of the five animated features from 2012 nominated for Oscars this year, three were made using the traditional stop-motion technique with puppets: Frankenweenie, The Pirates! Band of Misfits, and Paranorman. “Annies to Oscars: this year’s animated features” discusses them, as well as the computer-generated features, Brave and Wreck-It Ralph.
Chapter 11 Critical Analysis of Films
During the past year we’ve written quite a lot about film analysis. These entries might give some encouragement and suggestions to students embarking on their own critical studies of films.
In June the new online film journal, The Cine-Files, interviewed Kristin about her approach to film analysis. The editors kindly allowed us to post the interview, “Good, old-fashioned love (i.e., close analysis” of film” on our site as well. The interview includes discussions as such topics as, “Please tell us about something that couldn’t be understood without a frame-by-frame attention to detail.” It also discusses our recent forays into online video and PowerPoint analysis.
A lot of interpretation of films gets done, by professional critics and students, by fans, and by anyone who gets an idea about a film and offers it to the world. In Film Art, we suggest that valid interpretations of films tend to be based on close analysis of all aspects of the film. Needless to say, not every interpreter does the work of analysis before expounding their ideas. The feature documentary about amateur interpretations of Stanley Kubrick’s The Shining gave us an opportunity to discuss this tendency in “All play and no work? ROOM 237.” Surprisingly, some ideas offered by the subjects of the documentary aren’t necessarily that different from those propounded by professionals.
Christopher Nolan is one of the most admired filmmakers in contemporary Hollywood. What sets him apart? We discuss some of his innovatory tactics in “Nolan vs. Nolan.” The focus is on Insomnia, but with mentions of Magic Mike, Memento, Inception, and The Prestige. The latter is our primary example in Film Art‘s chapter on sound, and this entry might offer useful background material for teachers who show The Prestige to their classes.
For many students, non-Hollywood films can be intimidating to watch and even more so to analyze. “How to watch an art movie, reel 1″ offers hints for understanding and discussing art films. The film in question is Jaime Rosales’ Spanish film Sueño y silencio (2013). It hasn’t been widely seen, but one need not have seen the film to understand the analysis of its first twenty minutes. This entry discusses conventions of the art film that might help students in writing their own essays.
Chapter 12 Historical Changes in Film Art: Conventions and Choices, Tradition and Trends
One section of this chapter deals with “The Development of the Classical Hollywood Cinema (1908-1927).” In another new video lecture, “How Motion Pictures Became the Movies 1908-1920,” we deal with the same period on an international level. The lecture traces many of the basic techniques of cinematic storytelling in use in modern cinema back to their origins in this crucial early period. For an introduction to the video, see “What next? A video lecture, I suppose. Well, actually, yeah …”
Of the three major European stylistic movements of the 1920s discussed in Chapter 12, French Impressionism, German Expressionism, and Soviet Montage, Impressionism has traditionally been the most difficult to teach, due largely to a scarcity of prints of films from the movement. Now a group of major Impressionist films have become available on DVD, those made by the Soviet-emigré Albatros production company. In “Albatros soars,” we describe the films and their release in a prize-winning box set from Flicker Alley. We think students would find La brasier ardent intriguing, if puzzling.
David is at work on a book on 1940s Hollywood cinema. Left-over ideas from that project end up as blog entries now and then. These could fit in with the section, “The Classical Hollywood Cinema after the Coming of Sound, 1930s -1940s.” One such entry, “A dose of DOS: Trade secrets from Selznick,” looks at the hands-on approach of David O. Selznick, arguably the most important independent producer of the era. His guidance affected the style of Gone with the Wind, Rebecca, Spellbound, Duel in the Sun, and other classics of the Hollywood system. Another entry considers in-jokes planted in 1940s films.
David has also posted a related essay in the main section of his website, “Murder Culture: Adventures in 1940s Suspense,” dealing with the influence of mystery and detective fiction on films of the 1940s. For an introduction and link to this essay and to several other blog entries on filmmaking of the decade, see “The 1940s, mon amour.”
The final section of Chapter 12 deals with “Hong Kong Cinema, 1980s-1990s.” The recent death of Lau Kar-leung, one of the major martial-arts choreographers and directors of the 1970s and 1980s, led us to post an appreciation of his style and films in “Lion, dancing: Lau Kar-leung.” The final section provides many bibliographical sources and other information on Hong Kong cinema, as well as links to earlier entries on the subject.
Johnnie To is one of the few directors still successfully maintaining the tradition of Hong Kong action films. The latest of our entries on him deals with a recent release: “Mixing business with pleasure: Johnnie To’s DRUG WAR.”
DVDs to consider
At intervals we post round-ups of recent DVD and Blu-ray releases. The titles usually aren’t the big, recent, popular films, but more specialized items put out by companies like Flicker Alley, Eureka!, and Kino that specialize in issuing classic films, often in beautifully restored versions. A lot of these films have never been available on home video before, and they open up new possibilities for teachers who want to broaden their students’ viewing experiences. They’re also titles to recommend to those enthusiastic students who want recommendations for films they can view on their own.
“Classics on DVD and Blu-ray, for a fröliche Weihnachten!” deals mostly with German silent films, including a set of four starring the early superstar Asta Nielsen, and two films by G. W. Pabst: the first release of his debut film, an Expressionist-style work called Der Schatz, and the most complete restoration so far available of The Joyless Street. A new and longer version of Ernst Lubitsch’s Das Weib des Pharao is included, as is a charming Technicolor version of Gilbert and Sullivan’s The Mikado from 1939.
Regular readers are familiar with our annual tradition of naming the ten-best films of the current year but of 90 years ago. For once all the films on our list of “The ten best films of … 1922″ are all available on DVD, including a stunning print of Fritz Lang’s Dr. Mabuse der Spieler and the Criterion Collection’s release of the Svenska Filminstitutet’s restoration of Benjamin Christensen’s Häxan (better known in the USA as Witchcraft through the Ages).
As of September 28, Observations on Film Art will be seven years old.
REcreation (Robert Breer, 1956); T.O.U.C.H.I.N.G (Paul Sharits, 1969).
Snows and thaws and refreezing, amplified by a torrential rain, gave water a new path into our basement. We’ve spent about two weeks emptying bookshelves, drying them out, and shifting books to other places. No volumes were damaged, but we had to make space in the dry areas for the migrant titles.
That meant facing up to the problem of 16mm.
The solution was drastic.
My film collecting started with 8mm. Not super-8; that was invented later. (Imagine how old I am.) I made my own movies in 8, but I also bought, from the venerable Blackhawk Films of Davenport, Iowa, copies of films in that format. Most memorable was the Odessa Steps reel from Battleship Potemkin, which I projected often on my bedroom wall.
Not until I went to college and joined a film club did I lay my hands on 16mm. I suppose if you start out handling 35mm, 16 looks skinny and 8 looks like a toy. But moving from 8 to 16, I could see only improvement. You could, with the sharp eyes of the teenage geek, actually see the image on the strip. I projected many films on our JAN surplus projectors, and one weekend I hauled a print of Citizen Kane to my apartment to watch several times. Do I need to add that all this was in the 1960s, long before films became available on videotape?
Arriving in Madison in 1973, Kristin and I bought a Kodak Pageant, the 16mm workhorse. Not as good as a Bell & Howell, most aficionados would tell you, but fairly cheap and easy to handle. When we moved from apartment to apartment, the Pageant went with us.
In 1977 we bought a house, and I set up a jerry-rigged projection room in the unfinished basement. In our second house, where we still live, I was able to set up something more permanent. Now there were two projectors encased in a booth and mounted on a platform.
We spent many hours watching movies in that currently soggy basement, with its burgundy carpet and dark wood paneling. Although the room lacked the comforts of what we think of as a home theatre, we sometimes screened things for big groups, either a party or once in a while students in a seminar.
In both venues, we previewed movies we were showing in courses and revisited some of our growing collection: The Shop Around the Corner, High and Low, True Stories (must blog about that some time), You Only Live Once, and so on. I’ve already expounded on the key role of His Girl Friday in our mini-cinémathèque.
By then Kristin and I had also started working with 35mm prints in archives and with 35mm trailers we scavenged to make slides for lectures. For a brief while we even had 35mm in our screening space, but with only one projector, shows stretched too long. Although home video had taken off, Betavision, VHS, and even laserdiscs couldn’t compare to a good 16 copy. We continued to collect and show on film, as did our department.
In the last decade, improvements in digital projection, along with the arrival of Blu-ray, led to the decline of 16 in our local media ecosystem. Our department still shows a lot of 35, but 16 seems mostly the province of our experimental and documentary courses. As for us, we hadn’t screened 16 at home for some years. Then came the February leak, and we had to face the problem.
We’d already given many of our 16mm titles to the department, keeping our most fond treasures at home, thinking we’d watch them some day. Now we needed the space that those cans and cases occupied. Anyhow, it was probably time to let go. So we decided to surrender the features, the shorts, the cartoons, the splicers and the rewinds and the six Pageants—everything.
Our house is a museum of defunct technology. Just recently I surrendered my lovely Teac reel-to-reel tape recorder. Packed away are hundreds of Beta and VHS tapes. On groaning shelves sit hundreds of laserdiscs, mostly Asian. Yet under a roof that houses no fewer than six laserdisc players, there is no trace of the predominant nontheatrical film format of the twentieth century.
Captain Celluloid vs. the Film Pirates (1966).
Nowadays it’s easy to own a “film”—or rather a disc or file or stream of pixels fed to your display. (Though I wonder what it means to “own” something sitting on the Cloud in your virtual locker.) Back in the day, joining the ranks of 16mm collectors meant a real commitment. You needed to buy gear, you needed to clean and inspect the films, and you needed to learn a little projector maintenance. You probably subscribed to The Big Reel and Classic Film Collector, tabloids that ran ads selling or swapping prints and equipment. And you usually went to film collectors’ conventions, jamborees of selling, trading, and movie watching. The three biggest events, Cinecon (Los Angeles), Cinefest (Syracuse), and Cinevent (Columbus, Ohio), brought together the overwhelmingly male tribe of FOOFs: Fans of Old Films.
FOOF collectors had good hunting in those days. There were plenty of 16mm prints floating around, but quality varied. The best were those cast off from legit distributors. Made from internegatives drawn from 35mm positives, they usually had good tonal values. At the other end of the scale were the dupes, copies pulled from 16mm distribution prints. These ranged from acceptable to awful; but if you wanted a rarity, you might have to spring for a dupe.
In the middle zone were TV prints, probably the majority of copies in circulation. When studios licensed their pre-1948 libraries to television, go-between companies like C & C put together packages of prints to be sold to local stations around America. Small stations in the hinterlands harbored scores of 16mm copies, to be trimmed, filled out with commercials, and broadcast outside prime time, and sometimes within it as “Million Dollar Movie” or whatever. It’s still not fully appreciated, I think, how many baby-boomer auteurists around the country caught classics in the pre-dawn hours on local television.
But as network and syndicated programming expanded, there was less room for old movies. Why run a 1936 Paramount picture when you could show color re-runs of Bewitched or The Six Million Dollar Man? The stations’ 16mm prints were headed for landfill when enterprising collectors and entrepreneurs salvaged them. You could tell when you got a TV print. It might carry a packager’s logo; it would have low contrast; and splices between scenes would signal where the commercials had been jammed in.
FOOFs had their demons and demigods. Principal among the demons was one colorful character, who had the habit of bothering collectors circulating versions of old classics to which he claimed current rights. In The Sneeze, FOOFs made fun of the man who, releasing recovered prints of Birth of a Nation and Keaton films, made sure his own name featured prominently in the credits.
Among the demigods were Kevin Brownlow, he who had rescued Napoleon, and David Shepard, who started out at Blackhawk and eventually founded Film Preservation Associates. Most legendary of collectors was William K. Everson, who died in 1996. Thousands of prints were squeezed into his two Manhattan apartments and spilled over into the storage areas of NYU’s film department. He acquired many of his films in exchange for services he rendered to Hollywood studios. His gems were screened in his courses, in sessions of the Theodore Huff Memorial Film Society, and in lectures he presented around the world. I remember his excellent presentation on Joseph H. Lewis at Chicago’s Art Institute Film Center, where he showed clips from Lewis’ Poverty Row productions and even some credit sequences Lewis had crafted.
Bill brought a magnificent selection of titles to Madison in the early 80s, and many of them, such as Bulldog Drummond (1929) and Justin de Marseille (1935), remain rarities. Generous beyond measure, he also let NYU faculty and students borrow his movies. When Annette Michelson needed to see East of Borneo (1931) for her essay on Joseph Cornell’s Rose Hobart (1936), she turned to Bill. All of this largesse was made possible by the portable, user-friendly format of 16mm.
Freezing the frame
Teachers, filmmakers, and collectors had a special relation to 16mm. In addition, as researchers, we developed an unusually intimate rapport with the format. When I started teaching, I felt the need to illustrate my lectures with images from the films. My first efforts involved setting up a 35mm still camera on a tripod and photographing from the screen. If the projector could stop on a frame, so much the better; but even if not, you might snag an acceptable shot. The projected image would be surrounded by darkness. Today I wince at the results, as with this shot from Crime of M. Lange, one of the few old slides we haven’t cast out.
You could get sharper slides with a gadget called a Duplicon, but it cropped the 4 x 3 image to something like 3 x 2.
When Kristin and I decided to write Film Art: An Introduction, the few introductory textbooks relied almost entirely on production stills, those images shot on the set and circulated to promote the film. The Museum of Modern Art had an archive of production stills, and then as now, publishers turned to such collections for illustrations. As part of the first generation of university-trained film researchers, we doggedly insisted that all our examples would be actual film frames.
Today, digital video has made grabbing frames easy. But before the late 1990s, it was hard. Videotape frames looked terrible, as some books from the 1980s attest. To get decent quality, you needed access to prints. You needed a way to put a reel onto rewinds or, ideally, a flatbed editor like a Steenbeck. And you needed a camera with an enlarging attachment. When you’d copied your frames, you took the exposed film to a lab, where you hoped for a passable result. Black-and-white shots were easier than color, which required blinding lamps of a color temperature matched to Ektachrome or Fujichrome or Agfachrome.
When we could get access to 35mm prints, they were our prime sources for stills. I went to Copenhagen to copy frames from Dreyer films for my first book, and for her dissertation and first book Kristin made frames from 35mm copies of Ivan the Terrible loaned her by Janus Films. Before that, for the first edition of Film Art (1979), we took our color shots from 35mm prints, most of them in the New Yorker Films library. Dan Talbot and José Lopez kindly granted us permission to go to Bonded Storage in Fort Lee. There in the tall aisles of shipping cases we set up a rewind and patiently hunted for the frames we needed.
But most of the films we wanted to illustrate we could find only on 16. We rented prints and then took stills on a rickety gadget built for us by our friend David Allen. David bolted a pair of rewinds to a plank of plywood. That plank rested on a little table. Into the plank was cut a square slot for an upright light box. The box contained a bulb and was surmounted by a square of translucent plexiglass. The bulb could be put at the bottom of the box, for a photoflood lamp, or near the top with a cooler and dimmer appliance bulb for black-and-white. You positioned the film on the plexiglass and aimed the camera down at the film. A crude zoom lens allowed us to photograph a couple of frames of 16mm and one of 35.
We took the light box on our travels. Archivists certainly looked at us oddly when we brought the thing in, but they usually gave us permission to use it. We’d watch the film on a flatbed and bring the light box over alongside it. Laying the film gently on the surface, we’d poise the camera above it.
Here’s an example of what we got with our plywood setup, from Bill Everson’s print of Bulldog Drummond.
Over the years we improved our system. We bought better cameras, with sharper lenses. We found purpose-built attachments that hold the film strip firmly in place. (Alas, Canon and Nikon seem to have discontinued these rigs.) We used smaller lighting units rather than our curious box. For the last few decades we’ve shot horizontally rather than vertically.
Even in this age of video grabs, we make many frame enlargements on analog stock with 35mm cameras. Even if a film is available on DVD, some of the things we study aren’t preserved in that format. Of course many films aren’t available on video at all, and a great many of those were made to be seen on 16mm.
Format churn catches up with us
Notebook (Marie Menken, 1962).
Super-16 lives as a production format, but its older brother is nearly dead. True, a few die-hards like Ben Rivers continue to shoot on 16mm, but its future is mostly all used up. James Benning could make 16mm look like 35; when I asked him how he did it, he answered: “I use a light meter.” But even Jim has switched to digital. As for projection, many colleges and art centers have pitched out their 16 equipment.
Since our earliest editions, Film Art included discussions of two remarkable films: Bruce Conner’s A Movie (1958) and Robert Breer’s Fuji (1974). These have not been, and might never be, released on digital disc. Yet by the end of the 2000s, we found that virtually none of the users of our book screened these films for their classes, and curious readers without access to 16mm projection couldn’t easily see them. Reluctantly we cut them from the tenth edition of last year. We replaced A Movie with Koyanisqaatsi to illustrate associational form, and Fuji was replaced by Švankmajer’s Dimensions of Dialogue as an instance of experimental animation. Both titles are available on DVD.
Thanks to the Internet we’ve been able to revive our original discussions of the Conner and Breer films on our site here. We hope that will help the few loyal chevaliers who told me that they did indeed use the films in their courses. But our choice points up a larger problem.
So many documentary and avant-garde films were made and circulated on 16mm that we are at risk of losing a very large slice of film history. We’re lucky to have some Stan Brakhage and Hollis Frampton films on DVD, but what about all the other titles that were distributed by Canyon Cinema, the Film-Makers’ Coop, and other groups? We can get DVDs of Frederick Wiseman documentaries, and some classic ones have been made available on archival collections; but there are many more that depended on 16mm platforms. Even bigger is the set of everyday 16mm movies: amateur films, home movies, and hundreds of miles of newsfilm, from both big TV networks and local affiliates. A great many of the “orphan films” championed by Dan Streible and his colleagues are in this narrow-gauge format.
Recall too that the films of those animators and experimentalists who work frame by frame, such as Breer and Paul Sharits and Paolo Gioli, cannot be studied closely on DVD. How could DVD reveal to us the nifty paintwork of Marie Menken’s Notebook? For that you need a light table, or someone able to photograph it and show you.
Archives will retain 16mm projectors and viewing tables as long as they can. They will preserve prints, perhaps migrating the most sought-after ones to digital formats. Passionate collectors like Tim Romano, who zealously pursues lost films and then donates them to the AFI, will find a way to use our cast-off gear. Our Film Studies department will hang onto the format until the last aperture plate cracks.
16mm was so much a part of our work, our play, our education—in short, our lives—that the separation was inevitably poignant. Pinned to the bulletin board in my basement booth was Ellen Levy’s poem, “Rec Room.” It is, I think, about the fragility and faultiness of the 16mm image, as made palpable in home screenings, and about how that fragility nonetheless carries a pulse of vitality. It begins:
The film assumes the texture of its screen
on the first projection. Audrey Hepburn’s face
creases where the rec room paneling once
took exception to it for the sake of
rephrasing it slightly—a lesson
these late viewings have brought home. Home
screen or revival house . . . .
Thanks to Erik Gunneson and Tim Romano for helping us recycle our 16mm stuff.
Media historian Eric Hoyt, in our Communication Arts Department, studies among other things how the American studios disposed of their film libraries. He talks about his research and his book project, Hollywood Vault, here.
The FOOF contingent was unequivocally a force for good. To sample some of its wonkish hijinks, watch Captain Celluloid vs. the Film Pirates.
New York University’s Cinema Studies Department has created an extensive online collection of William K. Everson materials. For more on Bulldog Drummond, see this entry and this essay on the great William Cameron Menzies. Annette Michelson’s essay on Joseph Cornell, “Rose Hobart and Monsier Phot: Early Films from Utopia Parkway,” was published in Artforum 11 (June 1973), 47-57.
Bonded Storage in Fort Lee is part of the history of American cinema, as this article shows.
Paradoxically, you can study films frame by original frame on some laserdiscs, and on VHS tapes too if you are aware of the 3:2 pulldown. See my entry here. As so often happens, progress along one dimension means regression on another. So I cling to my rotting laserdiscs and demagnetizing old tapes.
James Benning discusses how digital cinema changed his artistic practice at Bombsite. An earlier entry of ours showcases the efforts of the Academy of Motion Picture Arts and Sciences to preserve experimental cinema.
Ellen Levy’s fine “Rec Room” is available in its entirety in The New York Review of Books (9 October 1986).
To watch a video about our Film Studies program, go here.
The Man Who Knew Too Much (1934).
Hitchcock made six remarkable thrillers from 1934 through 1938, and I have long believed that the first one was the best. I think very well of Sabotage, and both The Lady Vanishes and The 39 Steps are strong contenders. But for me, The Man Who Knew Too Much has got damn near everything going for it.
I came to it a little late. It wasn’t the first Hitchcock I wrote about; that was Notorious, in a 1969 piece that nakedly reveals the limitations of a college senior’s knowledge. Nor was it the first Hitchcock I saw; that was Vertigo, when I was about ten. Inauspiciously for me, when Vertigo was revived for national television broadcast in 1972, I was flying to a job interview in Madison, Wisconsin.
I got that job, though, and soon The Man Who Knew Too Much became very important for me. Seeing it at a film society screening, I was bowled over. Then I discovered that it was available for purchase in a cheap 16mm print. I bought a print and began teaching the film as a model of narrative construction. It worked its way into the first edition of Film Art, in 1979 and hung around there for several editions.
That sample analysis has been available as a pdf on our site, but check it out at the Criterion site, where it’s enhanced with nice frame enlargements and a major extract. The essay makes my case for the movie as an extremely well-constructed piece in the classical storytelling tradition.
So I was the ideal consumer for a spruced-up DVD/ Blu-ray release, and as usual Criterion doesn’t disappoint. It’s a handsome version, with some fine supplements. We get two rare interviews with Sir Alfred from CBS’s arts program Camera Three (featuring Pia Lindstrom and William K. Everson) and a perceptive discussion with Guillermo del Toro, who makes a vigorous case for the film. So does Philip Kemp in his commentary, which is strong on production background. Kemp offers valuable information on script versions and on Hitchcock’s niche in the English industry. The accompanying booklet includes a lively appreciation by The Self-Styled Siren, aka Farran Smith Nehme.
Interest in Hitchcock seems to be the one constant in the whirligig of tastes in film culture. He is a mainstay of home video and cable television; apparently the films can be re-released in perpetuity. Professors love to teach his films. The techniques are obvious and vivid, and the films offer a manageable complexity that encourages interpretation. Class, gender, power, the law—whatever your favorite themes, they’re all on the surface, yet enticingly ambivalent. Not to mention how much fun these movies are to watch. I’ve always enjoyed introducing “lesser Hitchcock” like Stage Fright and Dial M for Murder and then watching the audience fall under their spell.
Critics navigate by Hitchcock as a fixed pole star. Reviewers compare every new thriller to the classics of The Master of Suspense. Just look at what people write about Soderbergh’s Side Effects. And for those who promoted the auteur approach to Hollywood cinema, Hitchcock was a beachhead. Who could doubt that this man turned out personal projects within the impersonal machine known as Hollywood? And if he could do it, why not Ford, Hawks, Sternberg, Ray, and all the rest? Hitchcock nudged skeptics down the slippery slope toward auteurism.
Even if Hitchcock isn’t to your taste, you can’t avoid his influence. That became obvious around the 1970s, when directors began borrowing from him more or less overtly: Spielberg’s Vertigo track-and-zoom in Jaws (now itself a convention), De Palma’s homages/pastiches, Polanski’s use of point-of-view in Repulsion and Rosemary’s Baby, the endless Psycho sequels and the van Sant remake, and the rest. But Hitch was no less influential in his own day; I’d argue that filmmakers of the 1940s had to raise their game if they wanted to meet the challenge of Rebecca, Foreign Correspondent, Suspicion, Shadow of a Doubt, Spellbound, and Notorious. Billy Wilder told a reporter that Double Indemnity was his effort to “out-Hitch Hitch.”
What was so special? Obviously, the throwaway humor—sometimes airy, sometimes slapstick, sometimes sardonic. And obviously a gift for switching situations around, playing them against cliché, setting us up for a jolt. But I think there’s something else afoot. Part of the Master’s repute rests on virtuosity of film technique. Hitchcock makes movie movies, even when, like Rope or Dial M, they seem “theatrical.” And this movieness is best seen, I think, by considering a term that always comes up with Lord Alfred: the set piece.
Maintaining a tradition
Hitchcock held onto the flamboyant expressive devices of silent and early sound cinema far longer than any other director. For decades he kept alive techniques that many directors thought were old hat: abrupt cuts to details of gestures and objects; blurry point-of-view images to suggest distraught or befuddled states of mind (as above); very brief insert shots to accentuate violence. Compare Battleship Potemkin with Foreign Correspondent’s assassination scene.
Hitchcock built entire films around classic silent techniques. The Kuleshov effect governs Rear Window; the German “entfesselte” or “unchained” camera dominates Rope and Under Capricorn. Rope and Dial M revive the aesthetics of the German kammerspielfilm, or “chamber play.” The Germanic look was alive and well in the spiderweb shadow-work of Suspicion, while both French Impressionism and German Expressionism inform the dream sequences of Spellbound and Vertigo. He also preserved the “creative use of sound” that was the hallmark of directors like Clair and Milestone. While others had pretty much given up the expressionistic use of music and effects, Hitchcock was always ready to draw on them. The hallucinatory Merry Widow Waltz haunts Shadow of a Doubt, while Hitchcock’s penchant for giving us two pieces of information simultaneously, one in the image and another on the soundtrack, let him design scenes visually and push a lot of dialogue offscreen.
This flexibility of technique modulates from scene to scene. In The Man Who Knew Too Much, note-reading is presented in three ways, in rapid succession. First, Bob finds Louis’ note in the hairbrush.
Soon Bob gets a message from the front desk. What does it say? Hitchcock hides that by, for once, not supplying subjective point of view.
Only when the note is passed to Jill do we get to see it, but with a twist. Nobody but Hitchcock would add an extra shot that cuts to the note in her hand without revealing what it says.
That extra shot is what Eisenstein called a primer; as with dynamite, you need a little charge to trigger the blast.
We often forget that classic silent directors used their pictorial techniques for suspense. Lang’s Mabuse films and Spione furnish plenty of instances, but so do the Soviet montage films. The scene in which the police wait for the worker to return to his wife in The End of St. Petersburg now looks like pure Hitchcock, and of course the Odessa Steps sequence was the Psycho shower of its day. So it isn’t surprising that Hitchcock would turn his silent-film virtuosity toward creating scenes of high tension and threatened violence. Nor is it surprising that his skills would crystallize in “set pieces.”
Everybody talks about Hitchcock’s fondness for set pieces. It’s part of his brand. We have the Statue of Liberty climax in Saboteur, the milk carried up the staircase in Suspicion, the milk-and-razor scene and the final suicide in Spellbound, the spectacular rescue of Alicia at the end of Notorious, and the efforts of Bruno to retrieve the lighter in Strangers on a Train.
But, come to think of it, what makes something a set piece?
Game, set piece, match
Foreign Correspondent (1940).
As commonly understood in the arts, a set piece is a fairly self-contained portion of a larger work. It has a distinct beginning and end, and it’s understandable and impressive if extracted from its original. It’s designed to be a bravura display of concentrated virtuosity. In music, an example would be an operatic aria like the Queen of the Night’s in The Magic Flute: it is so flashy and complete in itself that it can enjoyed on its own, in a concert setting.
Two early uses of the term shed light on its implications. In stage parlance, a “set piece” is an item of the set that can stand alone, like a gate or fake tree. In pyrotechnics, a “set piece” is a carefully patterned arrangement of fireworks; here again, it implies a display that dazzles the audience.
In the silent era, I’d suggest, the clearest exponent of set pieces is Eisenstein, who became known as “the master of the episode.” Many of his big scenes, like the Odessa Steps massacre, are developed at such length that they function as mini-films. But you can consider passages in Chaplin and Keaton as set pieces—the dance of the breadrolls in The Gold Rush perhaps, or the windstorm in Steambout Bill, Jr. The musical would seem to be a natural home of the set piece, with numbers standing out against more mundane scenes. In modern cinema, again under the aegis of Hitchcock: De Palma offers plenty, and perhaps the prize fights in Raging Bull constitute a string of them. Today the home of the set piece is the action picture; the chases and fights are the main attraction, and the genre challenges directors and crew to find new ways to intoxicate us.
The aesthetic of the set piece implies that some scenes function as filler while others get the whipped-up treatment. If that’s right, many great directors don’t favor mounting set pieces. Ozu, Mizoguchi, Dreyer, Hawks, and others present what we might call “through-composed” films. Just as Wagnerian opera and its successors minimized set pieces, these filmmakers create a surface texture that doesn’t create self-contained high points. (I grant you that the immolation of Herlofs Marthe in Dreyer’s Day of Wrath might count.)
Given the detachable quality of set pieces, it’s true that some of Hitchcock’s can seem implausible or gratuitous. How essential is Guy’s lighter to any plausible scheme of Bruno’s? If you want to kill Roger Thornhill, why send him to a crossroads in Midwest corn country? (A knife in the back on the Greyhound is more reliable.) It was this tendency to sacrifice story logic for stunning anthology bits that Raymond Chandler deplored:
The thing that amuses me about Hitchcock is the way he directs a film in his head before he knows what the story is. You find yourself trying to rationalize the shots he wants to make rather than the story. Every time you get set he jabs you off balance by wanting to do a love scene on top of the Jefferson Memorial or something like that.
Chandler has a point. How do you integrate a set piece into a whole movie? (I’ll make some suggestions shortly.) But first, give Hitch his due. For him, I think a set piece was a compact repository of inherently cinematic ideas carried to a limit within a sequence. A set piece is a challenge: How much can you squeeze out of a situation?
Go back to Foreign Correspondent. Setting an assassination in Amsterdam allowed Hitchcock to integrate the idea of a clue based on a waywardly turning windmill. So far, Chandler’s objection seems tenable: The windmill is just a gimmick. But once Hitchcock sets his hero exploring the lair, he can create a set piece that answers a question that no one ever thought to ask before: How do you eavesdrop in a windmill?
Johnny Jones has to evade the killers by crawling up alongside the giant gears, then down, then up again. At each step he barely escapes being spotted. When he seems safe, his topcoat gets snagged in the grinding gears, so he has to slip his arm out of it—just in time to avoid being crushed.
Yet once Jones is freed from the coat, it’s carried around the gearwork and might be spotted by the gang. And the old diplomat upstairs, mind hazed by drugs, is likely to reveal Jones’ presence. Hitchcock squeezes seven minutes of suspense out of all this, with a casual air that suggests: Of course, dear chap, any director worth his salary can see that a windmill harbors all kinds of excruciating menace. All in a day’s work, you know.
A whispered terror on the breeze
If anything is a set piece, the Albert Hall sequence in The Man Who Knew Too Much is. Philip Kemp’s commentary for the Criterion DVD considers it Hitch’s first, although aficionados would probably consider the “knife” sound montage of Blackmail at the very least a rough sketch for what would come. Lucky you: The entire Albert Hall sequence is excerpted on the Criterion site.
A set piece benefits from a simple premise. Here, Jill’s child is being held hostage, which keeps her from informing the police of what little she knows about the plot. We know that during the concert an assassin will try to shoot a diplomat.
You can imagine Chandler asking: Why plug Ropa during a concert, with all those witnesses? Why not when the target is on the sidewalk, shot from a rooftop for easy escape? You can hear that bland replying murmur: Raaaymond, it’s only a moovie…
So we have some conditions for a set piece: a compact piece of action limited in time and space. But there’s also a strong time marker. Ramon the assassin is to wait for a dramatic pause in the score; it’s followed by a shattering choral outburst that will muffle the pistol shot. We’ve been given a rehearsal of the passage in a gramophone record, but since we don’t hear the whole piece then, we can’t predict exactly when the chorus will hit its peak.
Hitchcock plays on this uncertainty by letting the piece, Arthur Benjamin’s Storm Clouds Cantata, play out in its entirety. It was composed for the film, and its combination of lyrical and dramatic passages blend into a stream of music that coincides with the emotional action onscreen. I suspect that the piece, composed specifically for the film, glances at the most celebrated new choral piece of the era, William Walton’s Belshazzar’s Feast (1931). It too has a charged dramatic pause followed by a tremendous choral blast: “Slain!” You can listen to it here, and you can hear some of the musical affinities at 27:11 and after.
So the self-contained quality of the sequence is enhanced by the unfolding soundtrack, as well as its “bookend” structure: Jill arrives at the Albert Hall/ Jill leaves. (Hitchcock was very fond of this coming-and-going bracketing; many scenes of The Birds are built out of this.) But to be a set piece we need virtuosity too, right?
As our Film Art essay indicates, Hitchcock structures the scene using nearly every technique in the silent-cinema playbook. We get dynamically accentuated compositions, crisp point-of-view editing, subjective vision (even blurring as Jill drifts into a panicky reverie), and suspenseful crosscutting back to the gang holding Bob and Betty prisoner. The techniques build to their own crescendo, with more and shorter shots of Jill, the orchestra players, and the curtain concealing Ramon. As the climax approaches, details of the players’ performance pass in a flash. As another layer, though, all these visual techniques are synchronized with the musical structure of the piece. Most obvious is the slow tracking shot back from Jill as the female soloist launches in:
There came a whispered terror on the breeze./ And the dark forest shook.
The text has always teased me, because in my early years of studying the film I couldn’t hear everything there. Now that the Storm Clouds Cantata has become a minor concert piece, we have a full version of the text. It’s the description of an especially ominous storm, one that drives birds away and makes trees tremble in fear. The only creature left, vulnerable to the gale, is a child:
Around whose head screaming/ The night-birds wheeled and shot away.
The orchestral and choral forces mount on the line that has always come through the sound mix:
All save the child—all save the child.
The line is ambiguous. Its literal sense is that all the creatures have fled the oncoming storm except the child (“all save the child”). But Hitchcock’s cutting and the film’s overall context leave it as an imperative: the child must be rescued. Thus the musical dynamics and the text stress, for us and presumably for Jill, that Betty’s safety depends on what she does.
Soon the cantata’s text finds another analog in the concert hall. The choir sings of the storm clouds finally breaking and “finding release.” That phrase, repeated with rising intensity, yields the dramatic pause and then the final outburst that is to cover Ramon’s pistol shot. But now we have to see this phrase as prophecy and comment: Jill’s scream during the pause is the release of her tightened anxiety. And of course the line slyly signals the release of the suspense built up through the whole sequence.
With Hitchcock, you always get more.
In all, the sequence becomes exactly what a set piece ought to be: compact, with sharp boundaries and a strongly profiled arc of interest, elaborated with a great variety of technical resources and a thrusting emotional impact. But is it too much of an independent sequence? One can imagine Chandler worrying that Hitch doesn’t care much about how to hook it up with everything else. Let’s see.
This scepter’d isle
There’s no doubt that a plot driven by set pieces can seem episodic, just a matter of pretty clothes clipped to a slender line. In action movies it’s a classic problem, which, say, Speed doesn’t fully solve but Die Hard does.
You can mask an episodic plot, though, through some stratagems. First, make your filler material charming. The Man Who Knew Too Much gives us comedy in the dentist office and in the Tabernacle, with Bob and Clive mumbling messages through hymnody. You can also whisk the audience from scene to scene so quickly that the viewer has to concentrate on local connections. This is one purpose of what I’ve called the hook, the transition that smoothly links the end of one scene with the beginning of the next. If you’ve got some plot holes, strengthen your hooks–especially those that hide your gaps.
The Man Who Knew Too Much has some nifty hooks. I especially like the way the fingers pointing to the bullet hole are followed by a shot of Ramon’s head: effect and cause neatly given by a straight cut. Then there’s the contrast of the fire in the fireplace dissolving to the skier pin, a sort of thermal hook. But probably the most memorable one is Betty’s line about Ramon’s brilliantined hair.
This hook is a motif as well, and recurring images or sounds like this can help knit together your movie. In Foreign Correspondent, we get hats and birds in various scenes. Here, as our Film Art essay indicates, teeth, the skier pin, sharpshooting, the cantata’s main theme, and other motifs weave through the overall structure of the film.
You can as well knit your big scenes together through certain narrative patterns, such as a trip or a search, both strategies that Hitchcock employs in many movies. In The Man Who Knew Too Much, Bob’s investigation of the gang follows the menu set out in Louis’ note: the sun emblem, Wapping, G. Barbour, and A. Hall. This serves as a sort of map for the middle act of the film. Once Bob has cracked the message, though, the film shifts into a new register. Jill, who has been waiting passively at home, takes over the role of protagonist. And her actions will fulfill another motif: that of interruption and distraction.
The film begins with Betty’s dog disrupting Louis’ ski jump. That’s an innocent accident, as is the moment when Jill nearly spoils Roman’s skeet shooting. But soon afterward Abbott’s chiming watch deliberately breaks Jill’s concentration, making her lose the shooting match. In effect the Albert Hall sequence offers payback: With her scream Jill not only disrupts the performance but spoils Ramon’s aim as Abbott had spoiled hers.
The Albert Hall sequence fits into the film in a less obvious way, one that plays along the thematic dualities that marble the movie. Throughout the film contrasts “Englishness” with “foreignness,” the latter split between allies (Louis, Ropa) and enemies. The Storm Cloud Cantata and what follows represent a sort of triumph of England over her adversaries.
At the St. Moritz resort, the Lawrence family is set off from Louis, their French friend, and two men: Abbott the German and Ramon the Latin. (He’s handily fudged; he has a Spanish name but calls the English “extraordinaire.” And his hair is greasy.) “Sworn enemies, eh?” Jill says half-humorously to Ramon before losing the skeet shoot. After Louis’ death Bob is at a loss in the hotel, unable to speak German or Italian, and distracted while Betty is kidnapped. The English aren’t at home in this world.
Once Bob and Jill have returned to London, they join the family friend Clive, a Wodehousian upper-class twit but gifted with loyalty and tenacity. Bob and Clive have learned from Gibson of the Foreign Office that the gang intends to assassinate the diplomat Ropa. They must tell what they know; the killing could prove as catastrophic as the assassination that triggered the war of 1914-1918. Yet Bob keeps mum. He might be enacting E. M. Forster’s dictum: “If I had to choose between betraying my friend and betraying my country, I hope I would have the guts to betray my country.”
The conflict between family love and civic duty is played out in the rest of the second act, when the men’s investigation takes them to a working-class neighborhood of Wapping. There, we learn that behind respectable English institutions—a dentist, eccentric religion—foreign elements lurk. Bob has solved Louis’ riddle, but at the cost of becoming another hostage. Bob and Betty re-meet, in a characteristically subdued stiff-upper-lip encounter that denies Abbott the tearful scene he expected. The dignity with which Bob conducts himself, asking about Betty’s dressing gown and her school grades while staring defiantly at the gang, leaves the others abashed.
Clive has escaped, though, and has managed to send Jill to the Albert Hall. That musical set piece initiates the film’s climax dramatically but also thematically. For one thing, Benjamin’s cantata reaffirms another bit of Englishness. A national choral tradition runs back to Purcell and Handel, was sharpened in Mendelssohn’s Elijah, and was revived in the early twentieth century by Elgar’s Dream of Gerontius and Vaughan Williams’ Sea Symphony. Hitchcock and screenwriter Charles Bennett could have used Bach or Beethoven, but the choice of this brooding, mildly modernistic piece reminiscent of Walton is a nice bit of propaganda for British musical culture of the interwar years.
More importantly, the concert sequence solves the film’s ideological problem: How to save the world without destroying your family? Jill’s impulsive scream doesn’t divulge what she and Bob know about the gang, but it does serve to derail the gang’s plan and save Ropa. And by leading the police to follow Ramon to the hideout, she in effect chooses to risk Betty and Bob for the capture of the gang. Here, perhaps, the sheer drive of the action muffles the significance of her choice; Chandler complains that Hitchcock tended to take refuge from plot problems in “wild chases.”
What follows, in the middle of some violence that remains shocking today, is a vigorous reassertion of Englishness. The vignettes during the siege display stalwart national virtues. A postman insists on making his rounds during the gunplay. An inspector swipes sweets and pauses for a cup of tea. The police reluctantly take up arms, only after several of their unarmed number are mowed down. Slipping into adjacent buildings, snipers move a piano while its fussy owner rescues his potted plant. And a cop who was slated to go off duty finds a warm mattress to die on. This unassuming valor, so different from Ramon’s petulant swagger and Abbott’s self-congratulatory sadism, will win out. The victory is announced by the pent-up crowd rushing jubilantly forward as the siege ends.
In any other movie the mother would have been huddling with the child and the man would grab a rifle to pick off his enemy on the roof. But making Jill the crack shot reasserts another quintessentially English image: the hunting, shooting, riding mistress of the estate. She gets her second chance to fire, bringing down Ramon when even the police sniper hesitates. It’s also a bit of guilty revenge for the death of Louis, whom Jill danced into the line of fire. Hitchcock, as usual, renders it elliptically: we see Jill grab the gun but not fire it. As she and Bob and Betty are reunited, the movie that began with the line, “Are you all right, sir?” ends with a mother reassuring her weeping daughter, “It’s all right.”
This, we might say, is how you integrate set pieces into your movie—narratively, stylistically, and thematically. Others would disagree with me, but nearly forty years of living with this film hasn’t made me change my mind. The Man Who Knew Too Much is Hitchcock’s first thoroughgoing masterpiece.
Thanks to Abbey Lustgarten, UW-Madison alum, for her excellent production job on the Criterion disc. Thanks also to Peter Becker and Casey Moore for coordinating the posting of our Film Art piece with this blog entry.
For more on Chandler and Hitchcock, see William Luhr, Raymond Chandler and Film (New York: Unger, 1982), 81-93. My quotation comes from Raymond Chandler Speaking, ed. by Dorothy Gardiner and Kathrine Sorley Walker (Books for Libraries Press, 1971), 132.
Hitchcock probably doesn’t deserve 100% of the credit for the Foreign Correspondent windmill scene; it was designed by the great William Cameron Menzies.
When I wrote the Film Art analysis back in the 1970s, Kristin hadn’t elaborated her ideas about how large-scale parts, or acts, can shape a film. Yet I think that the three parts that the analysis mentions constitute pretty well-articulated acts. The first part has as its turning point Bob’s realization that when Gibson traces Betty’s call, police will converge on Wapping and endanger her. So Bob and Clive set out to save her. That decision comes about twenty-six minutes into the movie. I’d mark the end of the second act with Abbott’s sending Ramon on his mission after playing the cantata recording; that comes at about fifty-three minutes into the film. At this point we know everything we need to know, so the premises can play out. The last act is shorter, as climaxes tend to be. The Albert Hall sequence and the final shootout and rescue take up the final twenty-three minutes, capped by a very brief epilogue of the reunited family. For more on act structure, see Kristin’s entry here, mine here, and my essay on action movies, as well as Kristin’s Storytelling in the New Hollywood and my The Way Hollywood Tells It.
A final note: Frank Vosper, who plays Ramon, was a well-known stage actor and playwright. His most famous play is Love from a Stranger (1936); the film version was released in 1937. Another successful Vosper play was the fantasy comedy Murder on the Second Floor (1929), in which a writer devises a play consisting of all the clichés of sensational mystery fiction. But the Vosper play that piques my curiosity most is his 1927 drama called—I’m not kidding—Spellbound.
See? With Hitchcock you always get more.
The Man Who Knew Too Much.