***Note: The main body of this review is based on the 99-minute Corinth version of Mr. Arkadin as there are three available versions of the film here in the U.S.***
Written, directed, costume design, art directed, and co-starring Orson Welles in the titular role, Mr. Arkadin (Confidential Report) is the story of an amnesiac billionaire who hires a smuggler to investigate his life including own life as it leads to chaotic trip around the world. Based on radio scripts Welles co-wrote with Ernest Bornemann as well as parts of Graham Greene’s The Third Man and the Harry Lime radio programs Welles did in the 1950s. The film is an offbeat mystery that play into a man’s identity as he meets a smuggler to try and piece everything in his life. Also starring Robert Arden, Paola Mori, Patricia Medina, Akim Tamiroff, Gregoire Aslan, Jack Watling, Mischa Auer, Peter van Eyck, and Michael Redgrave. Mr. Arkadin is a fascinating and strange film from Orson Welles.
Set in Europe, the film revolves a smuggler who witnessed a murder where he learns the murder is connected to the reclusive billionaire in Gregory Arkadin who would ask him to go on a journey to find out about his own life before 1927 believing he has no recollection of his life before he became a billionaire. It’s a film with a simple premise yet it is filled with complexities, twists, and turns where this young man is given a task to learn about this billionaire where there are so many things that would confuse him. Orson Welles’ screenplay is largely told by the smuggler Guy Van Stratten (Robert Arden) to a man named Jakob Zouk (Akim Tamiroff) who has just gotten out of jail and has some connection towards Arkadin. Van Stratten’s story begins in Italy where he and his girlfriend Mily (Patricia Medina) witness a murder as Mily gets information from the dying man as it relates to Arkadin.
Arriving in Spain where Arkadin lives, he meets Arkadin’s daughter Raina (Paola Mori) as he falls for her and later meets Arkadin who gives him the job due to Van Stratten’s reputation for smuggling. Arkadin gives Van Stratten instructions and conditions for the job with the one being for his daughter to not know anything about his past. Throughout this chaotic journey around the world including stops in Mexico, Tangiers, Germany, and other parts of the world. Van Stratten deals with not just the many stories about Arkadin but also the people he meets as they all have an idea of what he did before creating this air of confusion.
Welles’ direction is stylish for the intrigue that he creates as it is shot largely on various locations in Spain along with scenes set in Paris, London, Munich, the French Riviera, and the Chateau de Chillon in Switzerland. The film is a whirlwind of visuals as Welles would create a lot of stylistic shots from not just a few slanted camera angles but also some low camera angles to play into the towering presence of Mr. Arkadin. Welles’ usage of wide shots play into the vast locations that Van Stratten would be as it does feel like a film that took place around the world as there are these moments of Van Stratten in different places. The close-ups and medium shots that Welles uses in Van Stratten’s meetings with those who might know about Arkadin as there are also these moments that are offbeat yet intriguing. There is an element to the film that is messy as it relates to Van Stratten’s journey as he’s unaware that Arkadin is following him where it does hinder the film’s pacing a bit in some places.
Serving as the film’s costume designer and art director with help from set decorators Gil Parrondo and Luis Perez Espinoza, Welles would create a look that play into this lavish world that Arkadin is in as he often hosts parties where he is mysterious where no one is sure where he is. Welles would also showcase these moments that play into the mystery and the need for Arkadin to not let it go out for his daughter to know. Especially in a thrilling climax that is this race to reach Raina between Arkadin and Van Stratten as there are also these complexities into the fact that the latter knows that is his own life is on the line after being aware of how dangerous Arkadin has become. Overall, Welles crafts an exhilarating and provocative film about a billionaire who hires a smuggler to find answers about his past.
Cinematographer Jean Bourgoin does brilliant work with the film’s black-and-white photography as it creates a mesmerizing look for some of the exteriors in the day and night along with the interiors at night. Editor Renzo Lucidi does excellent work with the editing as its usage of stylish dissolve montages and rhythmic cuts help play into the suspense. The sound work of Jacques Lebreton is terrific for the sound effects that are created along with some of the natural sounds although some of the post-dubbing synchronicity is off in some parts of the film. The film’s music by Paul Misraki is fantastic for its playful orchestral score that has elements that are light and upbeat to play with the locations in Spain to some eerie pieces for the film’s third act.
The film’s marvelous cast include some notable small roles from Gert Frobe as a Munich detective, Eduard Linker as Munich policeman, Tamara Shayne as a woman who hides Zouk, Frederick O’Brady as a junkie who knew Arkadin in Oskar, Katina Paxinou as the mysterious Sophie who knows about Arkadin’s past, Suzanne Flon as a socialite friend of Arkadin in Baronness Nagel, Peter van Eyck as a man Mily meets in Tangiers with information about Arkadin, Michael Redgrave as an antiques dealer in Burgomil Trebitsch, Mischa Auer as a mysterious professor who runs a flea circus that knew Arkadin, Gregoire Aslan as the man that Van Stratten meets in Italy who is killed early in the film, and Jack Watling as an aide of Arkadin in Bob the Marquess of Rutleigh. Akim Tamiroff is superb as Jakob Zouk as a man that Van Stratten tells his story to as he also carries some crucial information about Arkadin yet remains in hiding.
Patricia Medina is fantastic as Mily as Van Stratten’s girlfriend who has some information that she received on the night of the murder that she and Van Stratten witnessed as she also knows Arkadin and warns Van Stratten to not get too close. Paola Mori is wonderful as Arkadin’s daughter Raina as a young woman who wants to have some freedom but is also concerned about her father’s domineering persona as Mori’s voice is dubbed by another actress. Robert Arden is excellent as Guy Van Stratten as a smuggler who gets Arkadin’s attention as this young man that is trying to woo Raina only to be given this immense assignment filled with confusion and befuddlement. Finally, there’s Orson Welles in an incredible world as the titular character as this billionaire that is bigger than life itself as he’s elusive yet playful but also has this dark element to him that showcases a man that is obsessed with wanting to protect his secret.
***The following is an overview of the 98-minute European version of the film known as Confidential Report***
Considered the best version of the film in terms of its visual print as the film was transferred from 16mm to 35mm, the film that was re-edited under the supervision of producer Louis Dolivet is a different take on the film though not much of it has changed from the Corinth version. Aside from the voice-over narration of Van Stratten which is more prevalent in this film than in the Corinth version which was based on Van Stratten telling Zouk his story as the narrative moves back and forth. In this version, it’s more of Van Stratten telling the story through voice-over narration. Other key elements that is changed in the film includes an extended monologue from Arkadin at the masquerade ball that play into his fascination with lore and death. Another major change in the film that is different that relates to its second act is order of film sequences.
Notably when Van Stratten travels around the world as he would meet the professor and later the antiques man in this version while the scene of Mily at Arkadin’s yacht appears after Van Stratten meets the antiques man. It’s a version that has an improved pacing and looks better though it still has a few flaws such as the post-synch dubbing and other messy moments in the film.
***The following is an overview of the 2006 105-minute comprehensive version from the Criterion Collection***
Compiled by Stefan Drossler from the Munich Film Museum and Claude Bertemes with the aid of film critic/historian Jonathan Rosenbaum and filmmaker Peter Bogdanovich from various different versions of the film. It is the longest available version that is closer to what Welles had intended for the film as it has a different opening of a dead body lying on the beach as well as an ending that relates to a plane about to crash. The film itself feature an array of footage from different versions as it does play into the structure of the Corinth version with its usage of flashbacks but it has a few extended moments such as the sequence at the docks in Italy.
While there’s shots in the film that doesn’t match with parts of the film in some scenes due to the source material was used in the other films. The pacing of the film is better while there is also an element of the film that does feel fragmented which is an advantage to its pacing. It’s a film that still has a few issues in terms of the post-synch dubbing that doesn’t match up with the actors but it isn’t as noticeable in comparison to the other versions. Of the three, it is the best version in terms of its pacing and gathering everything that is needed in the story no matter how flawed it is.
Mr. Arkadin is a marvelous film from Orson Welles. While there will never be a definitive version of what Welles intended, the three versions of the film from the Criterion Collection in their different running times and presentation is still a fascinating suspense film that play into the idea of obsession and identity. Even as it showcases a story told in different versions of a man trying to find clues of a man’s past and lose himself in this journey. In the end, Mr. Arkadin is a remarkable film from Orson Welles.
Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Stranger (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Touch of Evil - The Trial (1962 film) - Chimes at Midnight - The Immortal Story – F for Fake - Filming Othello – The Other Side of the Wind
Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2
© thevoid99 2018
Directed by Tony Richardson and written by Alan Sillitoe that is based on the latter’s short story, The Loneliness of the Long Distance Runner is the story of a young man who is sent to a reform school where he is seen as a gifted runner only to be exploited by a governor for selfish reasons. The film is the study of a young man who would be given all sorts of privileges where he later copes with the role he is playing. Starring Tom Courtenay, Michael Redgrave, Avis Bunnage, James Bolam, and Alec McCowen. The Loneliness of the Long Distance Runner is a riveting and mesmerizing film from Tony Richardson.
The film follows a young man who is sent to a reform school following an act of theft where he tries to serve his time until its governor notices his gift as a long-distance runner and hopes to have him win an annual cup against a nearby rival school. It’s a film that plays into the plight of this young man who isn’t just dealing with the loss of his father but also changes and frustrations that would lead to his incarceration. Alan Sillitoe’s screenplay has a back-and-forth narrative that is largely a reflective narrative that is told largely through the perspective of its protagonist Colin Smith (Tom Courtenay). The narrative is mainly set in this reform school where Smith has to deal with other students and the sense of authority yet his gift as a long-distance runner gets the attention of the school’s governor (Michael Redgrave). The governor sees Smith as someone he believes can make an example towards the other students at the school although Smith reflects on the events in his life before he got arrested.
The flashbacks show the struggle Smith had as it relates to the passing of his father and the money that his mother (Avis Bunnage) would spend that his father had earned as she also takes on a new lover. While Smith would gain a girlfriend in Audrey (Topsy Jane) during that time, he would struggle with his lack of direction and prospects where he engages in criminal activities. Upon his arrest and being sent to the reform school, he copes with not just what he’s been given from the governor but also a growing disillusionment with the ways of the world.
Tony Richardson’s direction is definitely engaging for the way he captures the life of a young man from a working-class environment as he is put into a world that is filled with a lot of rules as the freedom he’s given doesn’t make him feel free. Shot largely in Surrey with the reform school scenes shot at the nearby Ruxley Towers at the village of Claygate. Richardson aims for an intimate approach to the world of reform schools and the working class world that Smith is in with the usage of hand-held cameras where he would use close-ups and medium shots to play into the world that Smith is in. There are some wide shots that include these amazing dolly-tracking shots that capture Smith running through the woods as he’s training for the film’s climatic race against a rival school. Richardson would also play into the uncertainty of Smith’s life before his incarceration as he just wanders around aimlessly either stealing cars or do something with his friend Mike (James Bolam). There’s a looseness to the scenes in the city as well as the running while the scenes at Smith’s family home and at the school are tight in the presentation. The film’s climax which is this race against a rival school would play into everything Smith has endure as well as everything he’s been through at the school as he would make an act of defiance through his gift. Overall, Richardson creates a rapturous film about a young man dealing with his uncertainty and oppression at a reform school.
Cinematographer Walter Lassally does brilliant work with the film’s black-and-white photography to capture some of the gray colors of the exteriors in the locations where Smith is running as well as the usage of lights for some of the film’s interiors at night. Editor Antony Gibbs does amazing work with the editing as its usage of jump-cuts, speed-cuts for some comedic moments, and montages help play into some of the emotional moments in the film including its climax. Production designer Ralph W. Brinton and art director Edward Marshall do fantastic work with the look of the interior at the home that Smith and his family live in as well as the school quarters.
Costume designer Sophie Devine does terrific work with the costumes from the uniforms and clothes that Smith and others had to wear at the school to the more posh look of the rival school during the film’s climax. The sound work of Stephen Dalby is excellent for the sound that play into the atmosphere of the locations including an eerie sound montage in a key scene for the film’s climax. The film’s music by John Addison is superb for its playful score for some of the humorous moments as well as the climatic moments before the race as it help add to the dramatic tension that looms throughout the film.
The casting by Maude Spector is wonderful as it include some notable small roles from Julia Foster as Mike’s girlfriend Gladys, Joe Robinson as a student named Roach, Dervis Ward as a detective who suspects Smith over theft, Topsy Jane as Smith’s girlfriend Audrey, James Fox as a runner for the rival school in Gunthorpe, James Bolam as Smith’s best friend Mike, and Alec McCowen as a school official named Brown. Avis Bunnage is excellent as Smith’s mother who cares more about living a lifestyle with a new lover and getting all sorts of things for herself and her younger children rather than be concerned with her eldest son’s well-being as well as not caring about her husband’s sudden passing. Michael Redgrave is brilliant as the school governor as a man who sees Smith’s gift as a runner in which he hopes to exploit for his own reasons as well as make offers to Smith that end up being very troubling. Finally, there’s Tom Courtenay in an incredible performance as Colin Smith as a young man who is troubled by his father’s death and lack of direction where is sent to a reform school as he deals with the privileges he’s been given as well as revelations about what is happening to others at the school as it is a breakthrough performance from Courtenay.
The Loneliness of the Long Distance Runner is a tremendous film from Tony Richardson that features top-notch performances from Tom Courtenay and Michael Redgrave. Along with its striking visuals, fascinating study of character and environment, an offbeat music score, and intricate sound presentation. It’s a film that explores a man given the chance to make something of himself but also facing choices that are filled with compromises as well as guilt over his sense of loss and lack of direction that would ultimate force him to rebel. In the end, The Loneliness of the Long Distance Runner is a phenomenal film from Tony Richardson.
Tony Richardson Films: (Momma Don’t Allow) – (Look Back in Anger) – (The Entertainer) – (Sanctuary (1961 film)) – A Taste of Honey - (Tom Jones (1963 film)) – (The Loved One) – (Mademoiselle (1966 film)) – (The Sailor from Gibraltar) – (The Charge of the Light Brigade) – (Laughter in the Dark) – (Hamlet (1969 film)) – (Ned Kelly (1970 film)) – (A Delicate Balance) – (Dead Cert) – (Joseph Andrew) – (The Border (1982 film)) – (The Hotel New Hampshire) – (Penalty Phase) – (The Phantom of the Opera (1990 film)) – (Women & Men: Stories of Seduction) – (Blue Sky)
© thevoid99 2018
Based on the novella The Turn of the Screw by Henry James, The Innocents is the story of a troubled governess who watches over two children who are supposedly possessed as she believes the house is haunted. Directed by Jack Clayton and screenplay by William Archibald and Truman Capote with additional dialogue from Jack Mortimer, the film is a Gothic horror story set in a home that might be haunted. Starring Deborah Kerr, Michael Redgrave, Megs Jenkins, Peter Wyngarde, Martin Stephens, Pamela Franklin, Isla Cameron, and Clytie Jessop. The Innocents is an intoxicating yet eerie film from Jack Clayton.
The film follows a woman who is given the job to be the governess for a man’s niece and nephew as her job is to care for them while he’s away on business as she becomes disturbed by their odd behavior as she believes the home they live in is haunted. It’s a film that explores a woman dealing with her situation as she tries to get to know as well as befriend these two kids living in this mansion which also house a few staff members include a housekeeper who probably knows more than she lets on. The film’s screenplay explores life at this beautiful and serene home that seems to be tranquil but there is also something off about the house once Miss Giddens (Deborah Kerr) has arrived into the home. In meeting the young girl Flora (Pamela Franklin) and the housekeeper Mrs. Grose (Megs Jenkins), Miss Giddens seems to have gotten herself a job that will make her happy and more.
Yet, that all changes when Flora’s brother Miles (Martin Stephens) arrives after having been kicked out at school where things start off a little odd and then becomes more troubling due to Miles’ personality as someone who acts very mature and say a lot of mature things. Miss Giddens would then see mysterious people at the home thinking they’re alive as it is believed to be previous inhabitants in the home including the children’s previous governess. Miss Giddens would learn more about those previous inhabitants as she believes they are possessing the children as she wants to know what these inhabitants want.
Jack Clayton’s direction is definitely stylish for many of the visuals that he creates as it help sets a mood into this massive estate and land which is a character in the film. Shot partially on location at a mansion in Sheffield Park on Sussex with much of it shot on Shepperton Studios in Britain. Clayton would use some wide shots to establish some of the locations but also use the wide shots for some unique compositions that play into some of the dramatic tension that looms throughout the film. Especially in the way he would frame his actors for a shot where there’s an extreme close-up of one character in the foreground and a medium shot of another character in the background. There are also some unique compositions in some of the medium and wide shots that would play into some of the things Miss Giddens would see during the course of the film as she wonders if it’s real or not. There are also sequences that are surreal as it relates to what Miss Giddens is dreaming about as it would also include moments that are very extreme as it relates to Miss Giddens’ relationship with Miles. While there’s scenes that are straightforward, it is only to build up the suspense as it would lead to this chilling climax as it relates to the previous inhabitants of the home. Overall, Clayton crafts an evocative yet haunting film about a governess dealing with children who could be possessed by ghosts.
Cinematographer Freddie Francis does brilliant work with the film’s black-and-white photography to help create moods with its usage of lighting, shades, and shadows to play into the suspense and horror as well as the usage of candle lights for a few scenes set at night. Editor James Clark does excellent work with the editing with its approach to rhythms to build up the suspense and drama as well as the usage of superimposed dissolves to play up the dramatic suspense in a few scenes. Art director Wilfred Shingleton does amazing work with the look of the rooms inside the house as well as some of the things found in the mysterious attic as well as folly near the lake at the estate.
Costume designer Sophie Devine, under the Motley pseudonym, does fantastic work with the look of the costumes as it plays into the film’s setting around the 19th Century with the dresses that Miss Giddens look to the clothes that the children wear. The sound work of Daphne Oram, with sound recordists Buster Ambler and John Cox, is incredible for the mixture of sounds in some scenes that add to the sense of terror as it is widely considered to be the early ideas of sound design as it’s one of the film’s major highlights. The film’s music by Georges Auric is superb for its orchestral score that is only used sparingly as it pops up on certain parts to help set the mood for the suspense and horror.
The film’s marvelous cast include some notable small roles from Isla Cameron as the housemaid Anna, Clytie Jessop as the ghost of the previous governess in Miss Jessel, Peter Wyngarde as a mysterious ghost who seems to be haunting and possessing Miles, and Michael Redgrave in a terrific small role as Miles and Flora’s uncle who hires Miss Giddens to be the children’s new governess. Pamela Franklin is wonderful as Flora as a young girl who is full of life and energy though she is also odd for the fact that she sings a song from a music box as she has no idea where she knows the song. Martin Stephens is excellent as Miles as a young boy who is kicked out of school as he’s also full of wonderment but there’s also something about him that is dark as he would say things that would disturb Miss Giddens.
Megs Jenkins is fantastic as Mrs. Grose as the housekeeper who is trying to understand what Miss Giddens is seeing as she also knows about the history of the house while aware that something isn’t right. Finally, there’s Deborah Kerr in a phenomenal performance as Miss Giddens as a governess who is hired to watch over the children of a rich man as she copes with the environment she’s in as well as the troubling behavior of the children as it’s one of Kerr’s finest performances.
The Innocents is a spectacular film from Jack Clayton that features a tremendous performance from Deborah Kerr. Along with its gorgeous visuals, eerie music soundtrack and sound design, and a haunting story set in a haunted house. The film is definitely a horror film that is more about mood rather than cheap scares to create suspense as well as show what atmosphere can do to create scares. In the end, The Innocents is a sensational film from Jack Clayton.
© thevoid99 2017
Based on the novel The Wheel Spins by Ethel Lina White, The Lady Vanishes is the story of an elderly woman who suddenly disappears on a train traveling across Europe as her young companion leads an investigation. Directed by Alfred Hitchcock and screenplay by Sidney Gilliat and Frank Launder from a screen story by Alma Reville, the film is a mystery that explores a woman’s disappearance where a small group of people try to solve that mystery. Starring Margaret Lockwood, Michael Redgrave, Paul Lukas, and Dame May Whitty. The Lady Vanishes is a thrilling and exciting film from Alfred Hitchcock.
The film is about an elderly woman who disappears on a traveling through Europe as her young companion tries to find her with the help of a young musician. Along the way, many claim to have not seen the old woman as there are questions into whether this young socialite is either lying or is just being crazy since she did get hit in the head by a falling object. It all plays into this mystery where it starts off at an inn where many characters are waiting for a train to arrive as much of the story takes place on this train to Europe. The film’s screenplay does have this unique structure where it begins at an inn which serves as a way to introduce the characters as it includes the socialite Iris Henderson (Margaret Lockwood) who is engaged to be married as she finds herself annoyed by the musician Gilbert (Michael Redgrave) over the loud music he makes.
Upon meeting this governess in Miss Froy (Dame May Whitty) who maybe a target for some kind of political scheme, Iris becomes attached to the old lady where they become friends. Still reeling from the falling object that hit her, Iris wonders where did Miss Froy go as people claim that they never saw her as only Gilbert believes her. Adding to this sense of mystery are an array of characters who are either oblivious to Iris’ claims or are in denial as a brain surgeon in Dr. Hartz (Paul Lukas) believes that Iris is being delusional. With Gilbert aiding Iris in the investigation, he also would realize that maybe Iris isn’t lying or being delusional as he becomes a key aspect into solving the mystery of Miss Froy’s disappearance.
Alfred Hitchcock’s direction is very stylish not just for the fact that much of the film’s second and third act is set almost entirely inside a train. It’s the fact that it has this sense of ambiguity that goes on in the train about whether Iris is telling the truth or is she just being delusional due to the bump on the head she’s suffering from. Hitchcock’s direction in the first act takes place inside an inn where it is about establishing the people who are going to be onboard this train where there’s a lot of things that are happening. Even as questions into why Miss Froy is listening to some folk singer outside of her window as there’s also some funny moments involving a couple of cricket players rooming with a maid who can’t speak English or an inn servant dealing with women wearing only their underwear.
The direction has Hitchcock take great advantage of the film’s very intimate but claustrophobic feel inside the train where he uses a lot of close-ups and medium shots. Even in scene where he will shoot a certain object as it will play into the suspense as well as some of the ambiguity that occurs in the film. There’s also moments where Hitchcock will find ways to create some kind of payoff that occurs in the third act as it involves all sorts of things where some of the passengers who often appear start to play key roles in the finale. Overall, Hitchcock creates a very sensational and engaging film about a woman’s mysterious disappearance.
Cinematographer Jack Cox does excellent work with the film‘s black-and-white photography as it‘s very straightforward with the exception of a few scenes set in the dark such as the train tunnels and at the inn at night. Editor R.E. Dearing does superb work with the sound in creating a few montages such as the effects that Iris would have from her injury as well as some rhythmic cuts to play into the suspense. Set decorator Alex Vetchinsky and art director Albert Whitcock do brilliant work with the look of the inn from the room that the cricket players were forced to stay as well as the train compartments where many of the characters are in throughout the film.
Sound recordist Sydney Wiles does nice work with the sound work from some of the layers of sound that occurs inside the train to the scene where Iris is annoyed by the music that Gilbert is playing at the inn. Music director Louis Levy brings in a wonderful mix of music ranging from folk to standards as well as some original music by Charles Williams whose orchestral score plays into some of the film‘s suspenseful moments.
The film’s marvelous cast include some notable small roles from Naunton Wayne and Basil Radford as the cricket players trying not to distract themselves so they can prepare for their test match, Cecil Parker as a cowardice lawyer, Linden Travers as his mistress, Catherine Lacey as a suspicious nun, Mary Clare as a baroness who is very quiet, Philip Leaver as the magician Signor Doppo, and Emile Boreo as the overwhelmed innkeeper. Paul Lukas is excellent as the mysterious Dr. Hartz as a man who examines Iris as he believes that everything she is seeing is in her head.
Dame May Whitty is fantastic as Miss Froy as this woman who is a bit of an eccentric but also kind and witty. Michael Redgrave is brilliant as Gilbert as this musician who annoys Iris as he would help her in the investigation as he wonders if Iris really telling the truth as Redgrave brings a great sense of charm to his role. Finally, there’s Margaret Lockwood in an amazing performance as Iris as this young socialite who tries to find Miss Froy as she wonders if she is telling the truth or is losing due to a head injury as it’s a very engaging and exciting performance from Lockwood.
The Lady Vanishes is a spectacular film from Alfred Hitchcock. Armed with a great cast and a premise that definitely sells itself, the film is truly one of Hitchcock’s finest films in British studio period. Even as it’s a film that manages to play with the conventions of suspense while taking its time to let the mystery unfold itself. In the end, The Lady Vanishes is a phenomenal film from Alfred Hitchcock.
Alfred Hitchcock Films: (Number 13) - (The Pleasure Garden) - (The Blackguard) - (The Mountain Eagle) - (The Lodger) - (A Story of the London Fog) - (The Ring) - (Downhill) - (The Farmer’s Wife) - (Easy Virtue) - (Champagne) - (The Manxman) - (Blackmail) - (Juno and the Paycock) - (Murder!) - (The Skin Game) - (Mary) - (Lord Camber’s Ladies) - (Rich and Strange) - (Number Seventeen) - (Waltzes from Vienna) - (The Man Who Knew Too Much (1934 film)) - The 39 Steps - (Secret Agent) - (Sabotage) - (Young and Innocent) - (Jamaica Inn) - Rebecca - (Foreign Correspondent) - (Mr. & Mrs. Smith) - Suspicion - (Saboteur) - (Shadow of a Doubt) - Bon Voyage - Lifeboat - (Spellbound) - Notorious - (The Paradine Cage) - Rope - (Under Capricorn) - (Stage Fright) - Strangers on a Train - I Confess - Dial M for Murder - Rear Window - To Catch a Thief - (The Trouble with Harry) - The Man Who Knew Too Much (1956 film) - (The Wrong Man) - Vertigo - North by Northwest - Psycho - The Birds - Marnie - (Torn Curtain) - (Topaz) - (Frenzy) - (Family Plot)
© thevoid99 2014
