Hitchcock’s Fine ‘Foreign Correspondent’ 1940

 

Is reporter Joel McCrea (R) tilting at windmills? George Sanders & Laraine Day
 certainly wonder, in Alfred Hitchcock's 1940 film, "Foreign Correspondent."

Rebecca was Alfred Hitchcock’s 1940 American breakthrough smash hit, and deservedly so. Yet Foreign Correspondent, the British director’s other 1940 film, was just as fine in its own right.

Director Alfred Hitchcock making his customary cameo, here with star Joel McCrea,
in 1940's "Foreign Correspondent."

Foreign Correspondent is imaginative suspense mixed with wartime espionage, and makes for rousing entertainment. Some of Hitchcock’s favorite film themes are represented in Foreign Correspondent: the everyman thrown into intrigue; the “MacGuffin,” Hitch-speak for the thing everyone is after; the sympathetic villain; the imposters; sudden violence; suspense set pieces against memorable backdrops.

Joel McCrea as John Jones grows from brash, boyish reporter to a fine
"Foreign Correspondent," Alfred Hitchcock's 1940 espionage film.

Joel McCrea was cast when Gary Cooper turned the title role down. Though Coop had his own style, McCrea was a better choice, a more open and spontaneous actor. As John Jones, Joel’s crime reporter turned foreign correspondent, who’s given the handle Huntley Haverstock. McCrea runs the gamut from brash young reporter, to flirtatious fellow, and serious correspondent, who relies on his gut instincts. McCrea’s natural style ages well and he was a precursor to William Holden’s charming, solid all-American guy.

Laraine Day was just 19 when she played love interest Mary Fisher in 1940's
"Foreign Correspondent."

Laraine Day, in an early role as Carol Fisher, is McCrea’s love interest. Day does well enough, but is definitely a product of her film era. Herbert Marshall is Stephen Fisher, Carol’s father, and revealed to be the villain half way through, another classic Hitchcock move. Marshall is quite empathetic as the flawed man, and had the ability to play both noble and nasty men. George Sanders is Scott ffolliatt, another correspondent who aids McCrea’s character on his mission. George is so young here, and playing not so jaded as he was often later cast. Albert Bassermann is a human “MacGuffin,” in this case, Van Meer, a captive politician. He is excellent as the prisoner worn down by torture for his political secrets, but not before Van Meer gives a stellar speech to the villains. Robert Benchley is the urbane fellow reporter Stebbens. Pre-Santa Claus Edmund Gwenn is a darkly comic villain who tries with determination to rub out McCrea’s reporter. Eduardo Ciannelli is the creepy main villain, Krug, who has a very good reason for wearing turtlenecks! Harry Davenport, Doctor Meade of GWTW fame, is no-nonsense as McCrea’s editor.

Albert Bassermann learned to speak English phonetically for his role as Van Meer, here with Joel McCrea, in 1940's "Foreign Correspondent."

The production of Foreign Correspondent is most atmospheric: The photography, the tight story, and special effects, which often depicts overcast days, pouring rain, and pitch black nights. There’s a sweeping score by Alfred Newman, William Cameron Menzies created the amazing set piece—that stunning plane crash, all aided by Rudolph Mate’s painterly cinematography.

The memorable war time message has been seen as a weak aspect of the movie. Quite to the contrary, I think. This was the cross roads the United States was at, whether to commit in joining WWII. England was starting to get attacked when Foreign Correspondent was released. Just over a year after this film’s release, the US was attacked by Japan at Pearl Harbor. So, the film’s message that the enemy was coming closer was more than apt.

Here is Joel McCrea’s Foreign Correspondent, written by Ben Hecht, giving the word to American audiences in the film’s finale:

“Don't tune me out, hang on a while—this is a big story, and you're part of it. It's too late to do anything here now except stand in the dark and let them come... as if the lights were all out everywhere, except in America. Keep those lights burning, cover them with steel, ring them with guns, build a canopy of battleships and bombing planes around them. Hello, America, hang on to your lights: they're the only lights left in the world!”

 

As London is beginning to get bombed, McCrea's reporter makes his rousing speech. When "Foreign Correspondent" was released in July 1940, it was really happening.

Producer Walter Wanger of Algiers, stayed out of Hitch’s hair in Foreign Correspondent, unlike his boss, producer David O. Selznick, who drove him crazy on Rebecca and other films. Hitchcock brings his distinct point of view to each aspect of the story, whether it’s the suspense, human drama, romance, or leavening humor. In his second year of US filmmaking, Alfred Hitchcock had arrived with his two 1940 films. Foreign Correspondent is a worthy precursor to the later Notorious, The Man Who Knew Too Much, and North by Northwest.

In Alfred Hitchcock's second year in Hollywood, he directed 1940 releases "Rebecca" & "Foreign Correspondent."

Here’s my look at Hitchcock’s last hurrah for sheer entertainment, North by Northwest: https://ricksrealreel.blogspot.com/2020/08/north-by-northwest-1959.html

Mankiewicz’ Masterpiece: ‘All About Eve’ 1950

Anne Baxter & Bette Davis face off as Eve & Margo, with the 'All About Eve' cast as their captive audience.

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All About Eve became an instant classic in 1950 and the comedic drama’s reputation has never waned. This knowing look at showbiz is legendary for several reasons.

 First, Eve was director Joseph L. Mankiewicz’ one- two punch, after A Letter to Three Wives, winning back-to-back Oscars for Best Director and Best Adapted Screenplay—a feat unmatched. Also, All About Eve is the only time four actresses from the same film were nominated for Oscars!

Bette Davis with 'Eve' writer-director Joseph L. Mankiewicz. One of Bette's best AND most benevolent collaborations!

Eve also brought Bette Davis’ career back from the dead, according to the icon. After a handful of less than stellar films, capped by Beyond the Forest, her freakish finale at WB, Eve was Bette’s big comeback.

All About Eve has long been a gossip's delight, over whether Margo Channing was a take-off on Talullah Bankhead. Not really, but the theatrical star dined out—or drank out—on that anecdote for decades.

This film, chock full with a great cast, marked the return of Marilyn Monroe to 20^th Century Fox, this time batting a homerun as starlet on the make, Miss Casswell.

'All About Eve' boasted one of the best ensemble casts ever. I think Thelma Ritter should have photobombed this publicity shot!

All About Eve still feels so adult; imagine how audiences felt in 1950. The razor sharp satire must have seemed like a slap upside the head! Eve is the elegant tale of a great theatre star whose position is being undermined by an acolyte who goes from personal assistant to a very personal adversary. The Joseph L. Mankiewicz script is one of the most literate, funny, and entertaining of all time. Director Mankiewicz was great with dialogue and actors, and it really shows here.

Bette Davis, in her career peak performance as Margo Channing, has been justly lauded. Yet, aside from Bette’s larger than life moments, it’s some of the small moments that are so honest and telling. It's really a shame there weren't more Joseph L. Mankiewicz’ in Bette's latter day professional life.

Bette Davis as Margo Channing, temperamental theater star. Davis had no doubts about looking her age, 42 in 1950.

Davis is the first star who I can think of that agreed to play... horrors ...an aging actress! Bette’s first scene, slathered in face cream, was a signal that this wasn't going to be aging ‘in dialogue’ only. The late night phone call, gives an unvarnished Bette a mini-marathon, from light banter with Bill, to Margo’s realization that Eve may be playing her. After she hangs up, I love how that scene lingers, when Bette's Margo lights a cigarette and ponders what just transpired. It’s Bette at her best; you can see her thinking, without saying a thing.

The phone call from Bill scene says so much about Bette, the actress.
What film diva in 1950 would agree to be photographed harshly with mussed up hair and no makeup? 

Claudette Colbert was supposed to play Margo Channing, but dropped out after a back injury on the war film, Three Came Home. At this point, Margo was written to suit her smooth, sophisticated persona. Obviously, Eve would have been a whole different movie with Colbert, and IMO, not as memorable. I thought Colbert was a stellar comic actress, but at best, a solid dramatic leading lady. CC out, Zanuck then brought up Marlene Dietrich, which Mankiewicz vetoed. Imagine “ageless” Dietrich agreeing to play “aging” Margo! Barbara Stanwyck was mentioned, an understated and versatile actress indeed, but not larger than life. Now, Joan Crawford was larger than life, but I can't imagine her “going there” as Margo, the way Bette did. Crawford’s own aging star saga, Torch Song, three years later, is proof of that. Also, Tallulah Bankhead, who claimed Davis appropriated her persona, gave a radio performance as Margo. While Bankhead batted out the comedy lines effortlessly, she is flat in her dramatic readings, especially compared to Bette’s virtuoso delivery. The difference was Bankhead was big on personality, light on dramatic talent, whereas Bette possessed an abundance of both.

Margo sounding off on what she thinks of playwrights! A bit like Bette blasting her opinion of most Hollywood directors?

Some film critics and fans feel that Anne Baxter was not in Bette Davis' league as Eve Harrington, especially not believable as a threat to Bette's Margo. Well, outside of Godzilla, who was? Eve is a tricky role, because audiences have to believe she is demure and mousy until she shows her true colors. Fox head Darryl F. Zanuck wanted Jeanne Crain as Eve, if you can imagine. The other Fox star that comes to mind is Susan Hayward. Now, “The Brooklyn Bernhardt” you could believe as a threat to Davis, filled “with fire and music,” to quote Addison DeWitt. Would Hayward have been able to hide her light under a bushel, while trying to fool Margo and her crew? I doubt it. I think Baxter was the best choice. As early Eve, she reminds me of Joan Fontaine, with the arched eyebrow and deliberate soft voice. Amusingly, when Eve gets busted taking bows while holding Margo's costume, Baxter reacts like she got caught with a corpse! But this was the standard back then, where Baxter's Eve, The Bad Seed's Rhoda, and Mildred Pierce's Veda, were all fairly transparent in their badness.

Center, Anne Baxter as beatific Eve, in awe of power couple Bill and Margo.

When Baxter sheds Eve's veil, she's quite cunning, to me. Her arm twisting Karen over the role of Cora, her showdown with Addison DeWitt, and her post-award butch bitchiness at her plush pad—all superbly performed.

Eve, before the self-wig snatch!

I've never seen Judy Holliday in Born Yesterday, except clips, but it seems dated. While Judy’s persona was fresh at the time, was this really a stretch for her? I’ll just say it: It's hard to believe Judy Holliday won over Gloria Swanson and Bette Davis' legendary characters in Sunset Blvd. and All About Eve. In Hollywood, box office and awards matter so much at the time, but in the end, it's the movies and stars that are remembered by audiences that matter most. 

Much was made of when Anne Baxter asked for Oscar consideration as Best Actress for Eve. Well, many felt she cancelled herself and Bette out with that move. Bette certainly did! But here's a thought: Anne did play the title role and was in the movie throughout. Bette worked for 3 weeks on Eve. Plus, Anne was a Fox star, whereas Bette was freelancing. Why didn't Fox submit Bette as best supporting actress, instead? Anne probably still wouldn't have won, but Bette may have scored a third Oscar as best supporting. Yes, I know, back then, that was a comedown for a star. And yes, Bette's performance permeated the whole movie, but I wonder if anyone else thought this too?

Eve and Margo's friendship faces the final curtain in this rehearsal scene.

Some folks have argued over whether Addison DeWitt and Eve were gay. My first reaction: Who cares? But I always assumed Addison was. To which those with the opposing view say, well, what about his interest in Eve? My thought is, the same reasons that Waldo Lydecker obsessed over Laura: A trophy, a monument to his ego, and more practically, a professional “beard.” As for Eve, “Mank” made later comments that she was fluid in that she went wherever it did her career or ego the most good. A little like Faye Dunaway's Diana in Network? Still, much commented on moments where Eve makes female alliances do seem coded to me. I love the scene where she rips off her feminine curled wig after director Bill Sampson rejects her. While wigging out, Eve’s own combed-back hair looks very mannish. When Addison surprises her, Eve resumes her Bo Peep pose.

Eve's makeup mask is at odds with her short-cropped hair, but Addison is no longer fooled, anyway.

George Sanders was usually cast as acerbic, but in Eve he’s the apex of acerbic. One big difference is that here, Sanders was given a three-dimensional character in Addison DeWitt. Yes, he’s snarky and sneaky, and loves every minute of his scheming. But Addison’s also an outsider. When he describes theater people as “we,” it’s a bit of an eye roll, because we know he’s not one of them. And you feel deep down, he knows that, too. That explains DeWitt’s bitchery toward the real show folk. When Eve laughs at DeWitt for declaring his claim on her, Addison slaps her, and you see his own need for validation, to keep his image maintained. Addison DeWitt is no one-note villain, and Sanders covers the bases brilliantly.

Thelma Ritter is brilliant as Birdie, Margo's gal Friday. I love this moment in 'Eve,'
when the supporting character is observed by the star. A rarity!

Mankiewicz gave Thelma Ritter the role of a lifetime, written specifically for her. As Birdie Coonan, Thelma gets to fly, after scene-stealing bits in Miracle on 34^th Street and A Letter to Three Wives. Next to Addison, Birdie has the best lines in the movie, and Ritter hits them out of the theater. Ritter got the first of four consecutive Best Supporting Actress Oscar nominations. And for All About Eve, Thelma lost to Josephine Hull in Harvey? OK, Oscar. Celeste Holm’s Karen, next to fiery friend Margo, may seem too serene. But watch closely, and you’ll see Celeste is knowing, warm and straightforward, immersed in the character of the playwright’s wife. Marilyn Monroe had one of her two memorable cameos that year, in The Asphalt Jungle and here as Miss Casswell. She's sly fun and already displays good comedy timing.

Bette Davis & Gary Merrill fell in love during 'Eve's' filming, which gave Margot & Bill's romance extra intensity.

With the exception of George Sanders’ Addison DeWitt, the men are more or less straight men, so to speak, and not as dynamic. Still, Gary Merrill and Hugh Marlowe are solid and intelligent as director Bill Sampson and playwright Lloyd Richards.

While Bette Davis plays Margo Channing larger than life, she skirts caricature skillfully.

In the end, All About Eve is all about the women, and what memorable women they are, thanks to Mankiewicz’ witty words and the wonderful actresses speaking them.

Busted! Watch your back, Margo!

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Laura 1944

Gene Tierney's "Laura" and her men: Vincent Price, Clifton Webb, & Dana Andrews.

What is left to say about 1944’s Laura, one of the most celebrated film noirs? So much has been written, that I can only comment that Laura is one of my all-time favorite films, regardless of genre.

When I was younger, I found dark, nightmarish film noirs fascinating and very adult. As I’ve grown older, this genre usually grates on my nerves, especially those with stories that hinge on incredible coincidences or characters who seem to be telepathic. For instance, my eyes roll routinely if I catch The Postman Always Rings Twice, where Leon Ames’ D.A. is on to John Garfield and Lana Turner’s illicit lovers from the start—before they even consider wrong-doing! The same goes for Double Indemnity, when scheming couple Fred MacMurray and Barbara Stanywck can’t catch a break with Fred’s insurance company boss Edward G. Robinson around.

Dana Andrews as the detective who seems to be love with a portrait of a dead woman.

For me, what makes Laura such a great film noir is not about the plotting and double-crossing, it’s about the mood and characters. Frankly, I never thought there was much mystery regarding Laura’s killer. While every character in the film is crazy about lovely Laura, you wonder what she sees in them—they’re mostly a pit of vipers.

'Laura' and the men in her life: the columnist, the playboy, and the detective!

The much-imitated story revolves around Laura Hunt and her social circle after it is thought she has been shot to death, right in her beautiful face. No-nonsense detective Mark McPherson is on the case and while sifting through the evidence and Laura’s life, becomes infatuated with her. There’s also a stunning portrait of Laura over her fireplace to inspire him. Mooning over the dead beauty while sorting through the case, he falls asleep at her apartment, only to be awakened by Laura, who isn’t dead after all. The murdered woman turns out to be a co-worker, with everyone a suspect—even Laura herself. The fun isn’t in the mystery, but the motives of each character, and the detective sizing them all up, to determine whodunit.

Clifton Webb in the role that made him a star, as the aptly named Waldo Lydecker.

Clifton Webb is routinely cited as stealing Laura. A former Broadway performer, Clifton created a classic character as catty columnist Waldo Lydecker, who’s obsessed with Laura. While Webb’s way with cutting comedic lines gets most of the praise, he also gives a great dramatic performance as the older man drawn to an ideal young woman, who knows that he can’t truly have. With Laura, the acidic, flamboyant Webb became an unlikely but big movie star, moving on to dramas like The Razor's Edge as well as the classic Mr. Belvedere comedies and the family favorite, Cheaper by the Dozen.

One of the great beauties of '40s films, Gene Tierney in literally her signature role as 'Laura.' 

Gene Tierney is usually touted for her great beauty, and rightly so. During her heyday, critics weren’t often kind, and a few felt that Tierney wasn’t all that Laura was touted to be, by the other characters. Gene wasn't as dynamic of an actress, as say, Vivien Leigh. Yet, Tierney radiated class and intelligence, something that studios went to great pains to give the illusion of in many of their actresses. However, like Leigh, Gene’s picture perfect, placid beauty had an undercurrent of emotional tension, which gave an extra dimension to her performances. Both actresses had turbulent personal lives and struggled with emotional illness, and worked hard to keep an even keel. I think Gene’s background and persona made her perfect as Laura Hunt. Consider that Hedy Lamarr was an early choice for Laura, and it’s easy to see how well Gene Tierney works in the role.

Vincent Price as the weak charmer, Shelby, the type of role that made him a character star instead of a matinee idol.

Vincent Price became typecast after co-starring as Gene's smarmy, slightly campy second-string love interest in both Laura and the next year in Leave Her to Heaven. Yet, Price plays the type so well! Vincent is sly and self-deprecating as boy toy Shelby Carpenter. And Judith Anderson is both sympathetic and sinister as Ann Treadwell, Laura’s aunt and rival for Price’s Shelby.

Dana Andrews is effortlessly natural as the street-smart detective Mark McPherson.

However, the unsung hero of Laura is Dana Andrews as detective Mark McPherson. Andrew’s gumshoe is street smart and tough, but with a tender side, which causes him to fall for Laura's bewitching portrait. Dana Andrews is a bit like Humphrey Bogart, but without the more obvious mannerisms. Andrews is the perfect every man in which audiences can view lovely Laura and her circle of friends. Amidst the movie’s intrigue and baroque characters, Andrews is the movie's rock.

Movie composer David Raskin wrote Laura’s theme, a recurring refrain throughout the film, and became justifiably famous. Later, lyrics later added by the great Johnny Mercer, and became even more popular.

Azadia Newman, wife of the original director of 'Laura,'
was a portrait painter. This was her take on Joan Crawford;
her portrait of Gene Tierney as Laura was not used!

This film is so smooth and near flawless, that it’s hard to fathom that Laura had such a fraught production. Fox’s head honcho Darryl F. Zanuck first refused to let Otto Preminger direct, but only produce. Rouben Mamoulian was brought in, but nobody was happy with his vision of Laura. So Rouben was given the boot, along with his painter wife Azadia Newman’s portrait of Laura. Even with Preminger now on board, Zanuck, a notoriously “hands on” mogul in more ways than one, called for a change in Laura’s ending. That is, until he showed it to columnist pal Walter Winchell, who basically commented, “Great picture, except for the ending!” I’m giving you the Reader’s Digest version, as my Mom likes to say, because the behind the scenes drama is a movie in itself.

Dana Wynter as Laura in '55's 'Portrait of Murder.'

This sublime slice of cinema was hilariously remade as a TV movie in the 1955. Robert Stack, with his glowering eyes and otherwise stony face, plays Dana Andrews’ detective role. The future Untouchables star only demonstrates how subtle Andrews was, compared to Stack, who always sounds like a morose radio announcer. Since this was 20^th Century Fox’s foray into television, who else but Fox contract player George Sanders would do as Waldo Lydecker, right? Sadly, Sanders is on acid-tongued autopilot here and the cartoonish script has his Lydecker getting decked by the detective. Dana Wynter, a pale substitute for Tierney as Laura, comes across like a prim secretary. And since this is ‘50s TV, there’s even a wise cracking kid, who was Laura’s smitten neighbor, and says things like, “Gee, why would anyone want to kill a swell girl like Laura?”

Robert Stack and George Sanders reprised their roles a dozen years later
in yet another TV remake with Lee Radziwill as 'Laura.'

Even stranger was another TV remake over a dozen years later, in ‘68. Aging Robert Stack and George Sanders were trotted out once again as the detective and the columnist, opposite Jackie O's sister, Lee Radziwill, as Laura. Lee was getting mentored by writer/society pal Truman Capote as an actress—I’m surprised Tru didn’t suggest himself as catty scribe Waldo Lydecker! The reviews were lethal and any copies of the production are now hard to come by.

Also, did you know there was a 1962 German TV version of Laura, with Hildegard Knef as Laura? You can watch it on YouTube.

Who remembers the Carol Burnett spoof, 'Flora?'

And TV fans, do you remember Carol Burnett’s spoof of Laura, called “Flora?” I only remember Vicki Lawrence as Bessie, the hysterical maid, and Steve Lawrence as the wisecracking detective. And I’m sure Harvey Korman played the imperious Waldo Lydecker. Does that leave Lyle Waggoner as Shelby Carpenter? I’d love to find this!

So, what do I love about Laura? That it gave Gene Tierney her signature role? That it made Clifton Webb a movie star at 55? That it makes audiences appreciate the naturalistic Dana Andrews even more today? That it has one of the loveliest movie themes ever? Laura is one of those rare films where all the elements come miraculously together, despite what was going on behind the camera, to create movie magic.

1944's 'Laura' all comes together in one lovely film noir.

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