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A Belated St. Paddy’s Day Post: Taking a Look at “The Quiet Man” (1952)

March 18, 2013 By 2 Comments

The-Quiet-Man-john-wayne-21939245-1000-791

Hope everyone had a joyful ♣ St. Patrick’s Day ♣ and a great weekend. Mine was spent catching up on Game of Thrones (just in time for the season 3 premier), going to the Metropolitan Museum of Art (and getting stuck in post-parade revelry).

Sunday night, however was spent tucking into that blanket known as Turner Classic Movies for at least a bit of their selection of Irish-themed films. You can imagine my (semi) pleasure when I realized I had just caught the beginning of John Ford’s homecoming of sorts, the 1952 Technicolor feature The Quiet Man starring his go-to guy, John Wayne, with Maureen O’Hara, Victor McLaglen, Mildred Natwick and the always entertaining Barry Fitzgerald rounding a solid cast.

SYNOPSIS

Sean Thornton (John Wayne) has returned from America to reclaim his Irish homestead and escape his past. Sean’s eye is caught by Mary Kate Danaher (Maureen O’Hara), a beautiful but poor maiden, and younger sister of ill-tempered “Red” Will Danaher (Victor McLaglen). The riotous relationship that forms between Sean and Mary Kate, punctuated by Will’s pugnacious attempts to keep them apart, form the main plot, with Sean’s past as the dark undercurrent. (Source: IMDB)

Now I must personally state for the record, that I grew up in a rather anti-Wayne household. Well maybe that may be a bit harsh – my dad was ambivalent at best and my mom could give a care about him. That said, as a classic film buff I (slightly) broke away from the family line and decided to see and judge for myself what I though of Mr. Wayne’s oeuvre.

The result? While I must admit that the ambivalence has translated down the generation, I do give Wayne props for his performance in the western he made with Ford four years after this film, The Searchers.

But I digress. The question of this post is What did I think of The Quiet Man?

Overall, I would say it was an enjoyable watch. The film balanced romance, comedy and drama very effectively and I cannot imagine a more sublime way of capturing the Emerald Isle than in the vibrancy of Technicolor. Honestly that was enough to pass the sniff test for me.

Now on to the acting. As I implied above, I am quite the fan of Barry Fitzgerald and love his screen presence; in this film my response is no different. Maureen O’Hara was solid as the fiery redhead who captures our hero’s heart. As for the main man himself, he does what he needs to make the performance convincing – enough so that it carried me through to the end.

It should also be noted that this film was a departure for Ford and Wayne, who, in case you didn’t know, primarily collaborated on Westerns. The Quiet Man was released by independent studio Republic Pictures, mostly known for it B-movie offerings. Due to the success of the picture, it garnered the studio its only “Best Picture” nomination in its history.

The one thing I did not see coming was the motivation for Sean Thornton’s desire to retire to a quiet, country life – packed quite a punch IMO (Note to self: the clue is in the title).

In end …

  1. Did I like it – yes and more than I anticipated.
  2. Will I be adding The Quiet Man to my video collection any time soon? Very likely not.

 

Have you seen this film? And what did you think of it? Submit in the Comments section below.

Filed Under: Classics, Commentary Tagged With: , , , ,

The Oscar Curse: Is it For Real?

February 22, 2013 By 22 Comments

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Before I dive into my topic/rant, I would like to send a big shout out to my colleagues Aurora (Once Upon a Screen), Paula (Paula’s Cinema Club) and Kellee (Outspoken & Freckled), who put this wonderful blogging meme together. Be sure to check out their sites to see all the other Oscar-related content bloggers around the world have posted.

Oscar Jinx 

The Oscar Jinx – the Origins

Jinx or curse, whatever – you get the idea. It is a theory as old as the actual awards ceremony themselves – the idea being that upon winning an Academy Award in an acting category, the winner finds themselves on the wrong side of Lady Luck – the offers dry up and they end up in a career paralysis, or simply fade into obscurity.

The first time I had ever heard of such a ‘curse’ was when I heard my dad and brother discussing the career of Louis Gossett Junior, following his win for An Officer and a Gentleman and how it ended up not really doing anything of consequence for his career (there was Enemy Mine, however). In subsequent years, as my passion for cinema grew, I discovered a few more instances of the famed curse, especially how ‘the curse’ impacted one of my favorite actresses Joan Fontaine who after her win in 1942 for Suspicion, said the only thing she gained from bringing home the gold was to be typecast as a “simp” (her words folks, not mine).

A little digging around the web unveiled a lot of interesting featured articles where the writer investigates this ‘phenomenon.’ You are forewarned: the various lists have many repeat customers:

Another observation you may have made is that there sure is a LOT of female representation on this list. This observation, unfortunately, leads to my next topic of discussion, the Oscar “Love” curse.

 

Subcategory: The Oscar “Love” Curse

More recently this curse has created a (more personal) subset of those affected – the Oscar Love curse, whereby love-struck members of the fairer sex (females) are afflicted with relationship woes post their awards triumph. According to “the Wikipedia” – which sourced the lists below – this is real, folks; just take a look at some of the winners (past and present) who apparently have been (un)ceremoniously dumped by their significant others upon winning Oscar:

Best Actress

  • Bette Davis (1936 Dangerous and 1939 Jezebel) and husband Harmon Nelson
  • Joan Crawford (1946 Mildred Pierce) and husband Phillip Terry
  • Jane Wyman (1948 Johnny Belinda) and husband Ronald Reagan
  • Elizabeth Taylor (1961 Butterfield 8 and 1967 Who’s Afraid of Virginia Woolf?) and husbands Eddie Fisher and Richard Burton
  • Julie Andrews (1965 Mary Poppins) and husband Tony Walton
  • Barbra Streisand (1969 Funny Girl) and husband Elliott Gould
  • Maggie Smith (1970 The Prime of Miss Jean Brodie) and husband Robert Stephens
  • Jane Fonda (1972 Klute) and husband Roger Vadim
  • Liza Minnelli (1973 Cabaret) and husband Peter Allen
  • Cher (1988 Moonstruck) and boyfriend Rob Camilletti
  • Kathy Bates (1991 Misery) and boyfriend later husband Tony Campisi
  • Emma Thompson (1993 Howards End) and husband Kenneth Branagh
  • Jessica Lange (1995 Blue Sky) and longtime partner Sam Shepard
  • Susan Sarandon (1996 Dead Man Walking) and longtime partner Tim Robbins
  • Helen Hunt (1998 As Good as It Gets) and boyfriend later husband Hank Azaria
  • Julia Roberts (2001 Erin Brockovich) and boyfriend Benjamin Bratt
  • Halle Berry (2002 Monster’s Ball) and husband Eric Benet
  • Charlize Theron (2004 Monster) and longtime boyfriend Stuart Townsend
  • Hilary Swank (2000 Boys Don’t Cry and 2005 Million Dollar Baby) and husband Chad Lowe
  • Reese Witherspoon (2006 Walk the Line) and husband Ryan Philippe
  • Kate Winslet (2009 The Reader) and husband Sam Mendes
  • Sandra Bullock (2010 The Blind Side) and husband Jesse James

Supporting Actress

  • Goldie Hawn (1970 Cactus Flower) and husband Gus Trikonis
  • Anjelica Huston (1986 Prizzi’s Honor) and boyfriend Jack Nicholson
  • Geena Davis (1989 The Accidental Tourist) and husband Jeff Goldblum
  • Kim Basinger (1998 L.A. Confidential) and husband Alec Baldwin
  • Renée Zellweger (2004 Cold Mountain) and longtime boyfriend Jack White
  • Jennifer Hudson (2007 Dreamgirls) and longtime boyfriend James Payton

 

Of course, there are always exceptions to the rule, including –

Best Actress

  • Joanne Woodward (1958 The Three Faces of Eve) and husband Paul Newman were married on January 29, 1958, prior to the March 26th Oscar ceremony and remained so, until Newman’s death in 2008.
  • Sophia Loren (1962 Two Women) and husband Carlo Ponti were married on September 17, 1957. However, the 1962 annulment of their marriage was for legal, rather than personal reasons. Loren and Ponti were formally married on April 9, 1966 and remained so, until Ponti’s death in 2007.
  • Jessica Tandy (1990 Driving Miss Daisy) and husband Hume Cronyn were married on September 27, 1942 and remained so, until Tandy’s death in 1994.

Best Supporting Actress

  • Maggie Smith (1979 California Suite) and husband Beverley Cross were married on August 23, 1975 and remained so, until Cross’s death in 1998.
  • Judi Dench (1999 Shakespeare in Love) and husband Michael Williams were married on February 5, 1971 and remained so, until Williams’ death in 2001.

Side note: Dame Maggie made BOTH lists – BOOM!

Side, side note: my simple observation is that with some of these actresses, notably for the aforementioned Dame Maggie and member of her cohort Dame Judi Dench, their respective wins gave them a “second career” of sorts and they are more popular than ever. This observation in of itself should be an indication of what my final conclusion will be (see below).

 

So With All of this Evidence, Does the “Curse” Hold Water?

In this blogger’s humble opinion, the answer is: maybe kinda sorta  – but maybe not really. WHAT ON EARTH DO I MEAN? My reasoning is quite simple really. YES winning such a prestigious award will change your life – for better or worse, but like with many things in life, it is a combination of preparation, effective decision making and sheer luck that determines the ultimate outcome. Now, that is not to say that ripe acting opportunities are limited. So while the Oscar may get you in the door, it is not a sure-fire ticket to continued success.

Also if you are fortunate enough to win, there is an added pressure to find a vehicle that potentially can match the acclaim of that winning performance. Granted, some folks are lucky enough and lightning WILL strike more than once (see above); but really that is more the exception, not the rule. If anything, the winning performance by an actor is more so an indication of them being the top of their game, the peak of their powers – and as the phrase goes it is all downhill from here in most cases. So sad, but so true.

As it pertains to the “love” curse I suppose especially for those folks whose partner is also in the business there is the chance that a little professional rivalry and/or jealousy exists and will precipitate hurt feelings and such. But seriously, looking at some of these entries on Wikipedia are a bit of a stretch given that in some cases, the relationship ended YEARS after the actress won the statue. In other words, I am calling BUNK on this part of the theory.

In the end, I say take the Oscar and hope for the best …

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But that is just me and my humble opinion; I could probably spend another 1000 words trying to debunk this further, but my fingers are tired.

Now is your turn; how about you? What do you think? Is the Oscar curse, be it professional OR personal something real?

Share your comments below.

Filed Under: Awards, Commentary Tagged With: ,

Remembering Richard Briers (1934-2013)

February 18, 2013 By Leave a Comment

richard briers much ado about nothing copy

I was so sad to wake up to the news this morning of the passing of veteran British actor Richard Briers. Known primarily for the comedic role he played on television (in BBC’s The Good Life), during his later years in particular, his full acting range was on display, in large part courtesy of his collaboration with Kenneth Branagh in films such as:

  • Henry V (1989)
  • Peter’s Friends (1992)
  • Much Ado About Nothing (1993) * a personal favorite of mine; Briers is pictured with Kate Beckinsale above in a still from the movie.
  • Frankenstein (1994)
  • A Midwinter’s Tale (1995)
  • Hamlet (1996)
  • Love’s Labour’s Lost (2000)
  • As You Like It (2006)

He was also in the films Spice World (1996) and Peter Pan (2003); his last screen appearance was in the British horror-comedy Cockneys vs Zombies (2012).

 

 

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ILC’s 2012 in Review

December 31, 2012 By 8 Comments

2012_13Well, as I started to write this post here on the Eastern Coast of these United States, there were exactly 12 hours left in the year of our Lord, 2012.

In the world of cinema, much reflection brought allowed me to relive some great memories. As you may know, I try to the best of my ability to refrain from maintaining “best of” lists, so, I will instead  highlight some of my best (and worst) movie-going moments in 2012.

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Things Done

I took a moment to reflect on all of the films that I have seen in 2012. Boy, it did not feel like that many but it was quite a list. Of course there were a whole lot more I could have gotten through. In this section I will look back on some of the bright points for me:

  • Farewell My Queen – lush, absolutely stunning piece of French cinema
  • Wuthering Heights – a new take on a beloved literary classic. Oh yeah Andrea Arnold is awesome!
  • My coverage of the 2012 Tribeca Film Festival !!!!
  • Beasts of the Southern Wild – a touching emotionally evocative that was worth much (maybe not all) the praise heaved upon it.
  • The Avengers – a pure rock ‘em sock ‘em ride of joy! Cannot believe I did not do a write-up on this one – oops!
  • The Dark Knight Rises - a very satisfying conclusion to an epic franchise.
  • Skyfall – in my estimation, BEST BOND film and song. Period.

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There were also a couple of surprises (good and bad):

  • Hitchcock – As a major fan, I was a little disappointed with the end result
  • Fast Girls – in an Olympic year, this was a cute British indie flick that really should have gotten more notice on this side of the pond.
  • Think Like a Man – In the game of managed expectations, this film may have been a great beneficiary. It was entertaining with quite a few funny moments.
  • Prometheus – So much promise, not quite the delivery I expected. But in the end, another showcase for personal favorite Michael Fassbender. On a side note, I had the honor of being on The LAMBcast for this one! Hopefully this is the first of many.

girls_8

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Some Things New (but old) …

In my all-time “must see” list, I knocked off a few notable titles (Annie Hall, Metropolis, and City Lights). I am certainly glad I did (especially City Lights and Annie Hall).

citylights

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And lastly, Things Left Undone …

For all the fun I had at the cinema, there were so many films that I did not get the opportunity to catch. Most recently there was my 6 before the end of 2012 challenge that was an epic FAIL on my part. Maybe I will be done with the films on the list before the awards season. Then there are all those films that in my Netflix queue, DVR list and my iTunes rental list.

Pitch Perfect

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I would like to close with a big THANK YOU to all of my readers and those whose contributions have continued to make this experience such a worthwhile for me. Thanks Guys!film 2012 marquee

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Capra: One (Many) for the Common Man, A Retrospective

December 23, 2012 By 4 Comments

Always a fan of Mr. Capra’s work, I took great pleasure in participating in the event hosted by The Lamb. While many may easily dismiss his work as corny or saccharine, I feel, many have missed the point of his work. I find that in fact, it is a balance that falls somewhere in the middle – not overly cynical or schmaltzy. For goodness sake, he seemed acutely aware of the pitfalls and despair that are a part and parcel of the human condition (his films dealt with suicide on more than one occasion – read Meet John Doe and It’s a Wonderful Life), but ultimately, he saw the human spirit as an overwhelming force of good and one that would overcome any obstacle. Remember, in his heyday, the country was in the depths of a Great Depression and struck the right, hopeful tone that I can only imagine the everyday day would appreciate and celebrate. He also had the capacity to be completely madcap and screwball (read: Arsenic and Old Lace and, to a lesser extent, You Can’t Take it With You). The following films are four of my favorite Capra films. Note – I LOVE It’s a Wonderful Life with all my heart, but intentionally left it off this list because I wanted to shine a light on some other noteworthy Capra films.

 

You Can’t Take it With You (1938)

lionel barrymore, james stewart, jean arthur & edward arnold - you can't take it with you 1938

A perfect combination of that sentimental feeling and zany comedy I just mentioned above. Jean Arthur is a member of an eccentric/free-spirited/bohemian family led by Lionel Barrymore. She falls in love with the “boss’ son,” in the form of one Jimmy (not James) Stewart. ILC’s take: ♥♥♥♥♥ (outta 5)

 

Meet John Doe (1941)

For me this film strikes a decidedly dark tone but again from the darkness there is a beacon of light, which has been fashioned by Capra as his vision of the unrivaled American spirit. Barbara Stanwyck stars as a reporter on her way out who finds a lifeline through a story of her own creation – because of the state of the world, a dispirited “everyman” (Gary Cooper) has decided to publicly end his life.

Meet_John_Doe_1941

The overtly jingoistic message may not resonate with contemporary audiences, but stellar performances by a world-weary Cooper and a determined Stanwyck make this one worth the watch. (Available in the public domain) ILC’s take: ♥♥♥♥

 

Arsenic and Old Lace (1944)

with Boris Karloff and Cary Grant, Arsenic and Old Lace (1944)

A pure gem and an all-time personal favorite. The perfect Halloween film with so much going on that you may wonder who’s coming and who’s going – but in the end, it is well worth the ride. Cary Grant shows a true mastery of the physical comedy genre with a great supporting cast, including wonderful turns by Raymond Massey and Peter Lorre. ILC’s take: ♥♥♥♥♥

 

Mr. Smith Goes to Washington (1939)

Hollywood's Greatest Year: The Best Picture Nominees of 1939

Capra’s entry into the “Golden Year of Hollywood,” 1939. An idealistic young politician (Jimmy Stewart) arrives in town and soon realizes that the inner workings of the political system are not as principled and virtuous as he thought. I know, SHOCKER. This makes my list principally became I love political theater ILC’s take: ♥♥♥♥

 

So, that’s my take; let me know what you think in the comments below.

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Celeste Holm (1917-2012)

July 16, 2012 By 4 Comments

With the passing of Celeste Holm this past weekend, we lost yet another stalwart film, television and stage performer (and Academy Award winner to boot). In honor of her life and body of work, I have decided to feature a few of my favorite performances of hers.

The Snake Pit (1948): This is a favorite film of mine; a groundbreaking film at the time in that it explored mental illness and the facilities and people who are left to care for the mentally indigent. Her role (like so many of her roles) is a supporting one, but you remember her time onscreen.

A Letter to Three Wives (1949); voiceover as “Addie Ross” – while never seen onscreen (and not receiving an official screen credit), her presence looms large over all of the movie’s proceedings. For it is her “letter” that tells us that she has run off with one of our principal players’ (Linda Darnell, Jeanne Crain, Ann Sothern) husbands. Another old-school gem that you must see if you have not already done so.

All About Eve (1950) – yes the film is all about Eve Harrington and Margo Chandler, but Holm, as Karen Richards, Margo’s close friend, who brings the star-struck and plotting Eve into ‘their’ world. She is also there to offer the odd pithy one-liner.

 

What are some of your favorite Holm’s film performances?

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Opening Weekends (Poll)

July 12, 2012 By 8 Comments

Well we are a week away from THE DARK KNIGHT RISES and the frenzy has already begun. A day or so ago, I went online (at the insistence of a co-attendee) to reserve my IMAX tickets and I happened to notice that the Friday night 10:25PM IMAX screening is already sold out! Luckily for me, I was getting tickets for the 7:00PM showing and sailed through the ticket purchasing process unfazed.

This got me thinking – about the euphoria surrounding such event pictures and why one insists on actions. I mean, seriously, for a film that is SUCH a cinematic event, why the rush? Of course this is a rhetorical question because as I write, I can think of a plethora of reasons people insist on seeing a film right out of the gate. But I am also left wondering is it worth all the aggravation associated with opening weekend attendance (lines outside the theater, the mad dash for seats, etc.). This is an especially painful experience in NYC, where I have attended more than my share of opening day/weekend screenings.

Well back to my answer – which is an immediate and definitive Hmm, it depends. If going with a group of people with whom this matters, then YES, I will wade my way through the masses. BUT when left to my own devices, I would have to say it is not an experience that I regularly engage in nowadays – long gone is my fervent desire to see an event film on opening weekend (likely a function of my advancing years).

So I ask you ILC readers, do you still insist on seeing blockbuster films on opening weekend?

Opening Weekends

View Results

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Filed Under: Commentary, Polls

In Memoriam

July 9, 2012 By 10 Comments

Over the course of the past week, the world lost two veterans of the screen, both big and small.

Andy Griffith was widely known for his work on television. That means for many The Andy Griffith Show and Matlock; but for me his seminal work as Lonesome Rhodes in the 1957 film A Face in the Crowd, directed by Elia Kazan. If you have not seen this film it is a must! It was Griffith’s feature film debut and vaulted him onto scene as a major star.

Based on the short story, Your Arkansas Traveler by Budd Schulberg (who adapted the story to film), it is about the meteoric rise of a small town drifter to a larger than life radio and television. It is a statement about the twisted, cynical (and corrupting) world of stardom and notoriety.

While it received mixed upon its initial theatrical release, A Face in the Crowd is now considered a classic, so much so that in 2008 it was selected by the National Film Registry’s list of ”culturally, historically, or aesthetically significant” films.

And just yesterday (Sunday) we received word of the passing of Academy-award winner Ernest Borgnine at the age of 95. Over his long career, Borgnine was generally regarded as a supporting and character actor in roles such as From Here to Eternity, Johnny Guitar and Bad Day at Black Rock; his status was elevated when in 1955 he starred in the title character, Marty, the story of a Bronx butcher with a heart of gold. For his performance, he won the Academy Award for Best Actor, beating out competition from the likes of Frank Sinatra, James Cagney, Spencer Tracy and the late James Dean.

But for me, Borgnine was a constant screen presence, that due to his prolific nature, I had grown accustom to. Some of the films I recall seeing him in films such as The Dirty Dozen, The Flight of the Phoenix, The Poseidon Adventure and the controversial Sam Peckinpah feature, The Wild Bunch.

Later in his career he found a steady stream of work on both film and television.

 

What are some of your memories of these performers?

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Tribute to Nora Ephron (1941-2012)

June 28, 2012 By 4 Comments

While many (including myself) are still grappling with the tragic news concerning the passing of noted writer and filmmaker Nora Ephron who passed away earlier this week, aged 71.

From a distance, she was a creative force that I always admired. As a writer, she struck a wonderful chord that was equal parts romantic, humorous and (at times) tinged with necessary dramatic tension and pathos; it was a rarefied gift that many have tried to replicate, but few have succeeded at.

Here is a condensed list of some of my favorite films that she penned:

  • You’ve Got Mail (1998)
  • Sleepless in Seattle (1993)*
  • When Harry Met Sally (1989)*^

(* denotes Academy Award nod; ^denotes BAFTA, or British Academy Award win)

When Harry Met Sally: A personal favorite

Of course, my VERY small sample of chiefly rom-coms does not begin to touch the surface of all of her accomplishments, but from this collection of films, it was quite clear that her skills as a writer were varied and resonated with many. Let us not forget that she also wrote the Oscar-nominated screenplay for the whistle-blower tale Silkwood.

Let us not forget that she was also noted for her work BEHIND the camera with films such as Julie & Julia , the aforementioned You’ve Got Mail and Sleepless in Seattle.

Here is a scene from Sleepless in Seattle that always gets me:

In closing, among the various Hollywood tributes to go out to in the wake of this loss, I point you to Tom Hanks’ eulogy in Time magazine to his collaborator and friend.

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Peck and Hitchcock: A Retrospective

April 5, 2012 By 15 Comments

I have been graciously invited by Ruth at Flixchatter to participate in her celebration of what would have been Gregory Peck’s 96th birthday. Be sure to check out her piece Beauty is Forever: Happy Birthday, Mr. Gregory Peck!

Also make sure to visit her site to read the posts from the others who have contributed to this celebration!

Here, below, is my celebratory entry:

As many fans of Alfred Hitchcock know, whether in front of or behind the camera, once Hitch found someone he liked, they usually became a constant collaborator.

When it came to music, there was Bernard Herrmann.

When it came to continuity and editing, his wife, Alma Reville.

In the area of writing, there was John Michael Hayes.

And then there were the ‘icy blondes’ of course – Ingrid Bergman, Tippi Hedren and Grace Kelly, to name a few.

As far as leading men are concerned, there was James Stewart, Cary Grant, and our birthday boy, Mr. Gregory Peck, who starred in two of Hitchcock’s films: the 1945 classic Spellbound and 1947′s The Paradine Case.

For my money, Spellbound is the far superior film; in this film, Hitchcock utilizes Peck’s dignified everyman status to great effect. He plays Dr. Edwardes, a young doctor on assignment to a mental institution. But soon we discover that all is not what it appears. Hitchcock uses this as an opportunity to delve into the complexities of the human mind (the subject of psychoanalysis being of great interest to Hitchcock). His co-star in the film is Ingrid Bergman playing Dr. Petersen, who helps Dr. Edwardes (and the audience) unravel the mystery at the center of the story.

A highlight of the film is the infamous dream sequence, with elements conceived and designed by the famous surrealist Salavdor Dalí.

At the time of its release, Spellbound was a runaway critical and commercial hit.

 

Unfortunately, Peck and Hitchcock’s second collaboration received mixed reviews and was not generally as well received. The Paradine Case is the seventh and final film that Hitchcock directed for producer David O. Selznick.

It is a courtroom drama in which we see Peck’s character, barrister Anthony Keene fall in love with his client, the beautiful and mysterious Madame Paradine (played by actress Alida Valli). She is on trial for the murder of her husband.

Often seen as one of the “Hitchcock films one ought to not bother watching” it is an effectively made film that shows what lengths the protagonist will go to let this woman he is so drawn to escape a murder charge – Keene puts his reputation, career and marriage at stake.

One reason I feel many dismiss The Paradine Case is that it does not have the characteristic ‘Hitchcockian’ levels of intrigue and suspense that audiences were getting used to from the director by now. I suspect that if any other director’s name appeared at the opening credits, the reception would have been a bit more forgiving. That said, if you are looking for a film in the vein of Spellbound or Notorious (1946), this is not the film.

 

Fast-forward 16 years after The Paradine Case wrapped and take a look at the photo below; Peck and Hitchcock are posed together on the set of Hitch’s latest production, The Birds (1963). While I did not find much in my research that indicated a particularly strong life-long friendship between the two, this photograph is a testament (in my eyes at least) of a partnership that produced a mutual respect between the men.

 

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