In 1939, Producer David O. Selznick signed Alfred Hitchcock to a seven-year contract bringing the British director to Hollywood. Selznick either produced or lent Hitchcock over to other studios, but during their time together, their four collaborations enhanced each other’s filmography. It started off with a bang with a Best Film win at the Oscars for Rebecca. Another Hitchcock film competed that year with six nominations but didn’t win, Foreign Correspondent.
The 13th Academy Awards in 1940 had some amazing competition:
All This, and Heaven Too
The Grapes of Wrath
The Great Dictator
The Long Voyage Home
John Ford, Grapes of Wrath (Won); Alfred Hitchcock, Rebecca; Sam Wood, Kitty Foyle; and William Wyler, The Letter
I have not seen Kitty Foyle (Ginger Rogers won Best Actress) or All This, and Heaven Too, and it would be difficult to pick a winner, but I sure enjoyed The Letter starring Bette Davis.
Foreign Correspondent is a thriller-love-international story involving Huntley Haverstock (Joel McCrea) who’s sent on his first assignment from the New York Globe to interview key political leaders and question them whether Europe will go to war. He falls for Carol (Laraine Day) and befriends another reporter Scott Ffolliott (George Sanders), and the three weave around plot twists and awesome set designs before crashing into the ocean at the story’s end. Nominated for an Oscar for their writing, Joan Harrison and Charles Bennett created a screenplay rich with comedic bantering at a fast tempo. Alfred Hitchcock provides the thrills and suspense whether his protagonist hides in a windmill, escapes via hotel ledge, or pursues an adversary through a sea of umbrellas. How did Hitchcock manage the plane crash? As a guest on the Dick Cavett show, Hitchcock revealed, “I had a test pilot go out off Santa Monica. And dive with a camera on the front of the plane toward the ocean. Pull out at the last moment.” In 1940, this was innovative.
It’s the marvelous cinematography by Rudolph Maté, the production designs and the special effects by Alexander Golitzen, Paul Eagler, and Thomas T. Mouilton that make Foreign Correspondence wonderful to watch. Hitchcock’s silent era foundation has a place here–messages, maps, hotel signs, road signs, and telegrams silently convey the narrative. His attention to details is one admirable reason why he’s great after all these years. 4/5.
Which Selznick-Hitchcock film is your favorite? I haven’t seen The Paradine Case.
Is it as good as Spellbound?