1940s, actors, directors, Film Spotlight, movies, oscars

Hitchcock: Foreign Correspondent


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:

BEST FILM                                   

Rebecca (Won)
All This, and Heaven Too
Foreign Correspondent  
The Grapes of Wrath
The Great Dictator
Kitty Foyle
The Letter
The Long Voyage Home
Our Town
Philadelphia Story


John Ford, Grapes of Wrath (Won);  Alfred Hitchcock, RebeccaSam 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? 

1940s, blogathon, Film Spotlight, movies

Barbara Stanwyck: Sorry, Wrong Number


Sorry, Wrong Number(1948) is a film noir starring Barbara Stanwyck and Burt Lancaster. Directed by Anatole Litvak with Sol Polito as cinematographer, it was first written as a radio play in 1943 starring Agnes Moorehead, then adapted to the screen by Lucille Fletcher.  The film’s structure and the cinematography maximize suspense. Of course, what makes the film is the performance by Barbara Stanwyck whose Leona starts off bossy and queenly but sinks to a mental state of fragility that commands pity by the story’s end. It’s a meaty role any serious actress would crave and Barbara delivers.

Leona Stevenson is a manipulator. As the pampered daughter of a pharmaceutical magnate from Chicago, she falls for a small town, handsome Henry Stevenson (Burt Lancaster) and manipulates him to marry her. Her health is a form of manipulation, too. If she convinces herself she is an invalid, she can control her husband to be at her side. One night, as she frantically calls looking for her missing husband, she overhears men discussing their murderous plot to kill a woman.  From there, the story weaves back and forth from flashbacks to real-time. The phone is the central object that connects the murderers, her husband, and Sally Hunt (Ann Richards) who reappears after an eight year break up with Henry. The phone is the thread that keeps the narrative alive and progressing. The story feels like a Nancy Drew mystery when Sally Hunt reveals her part in the plot, but otherwise,  we learn what mischief Mr. Henry Stevenson is up to in a compelling way. Barbara’s facial expressions and distress is palpable, and I am biting my nails with expectancy when out of the dark shadows the tension mounts to the apex and end of the story.

Anatole Litvak’s choice to use mirrors on his sets is highly effective for enhancing the mystery. Mirrors in the restaurant to check what’s behind you, mirrors over the bed or strategically placed to highlight the phone or a hand. The phone booths, the three-story spiraling staircase, the marquis rock on Leona’s finger, and Edith Head‘s costume designs make Sorry, Wrong Number a thrilling visual treat.

I only wish I could have heard this on the radio. With the lights off. I bet it was magnificent.

1940s, authors, books, culture, Read This

Read This: All the Light We Cannot See

2015 Pulitzer Winner for Fiction
2015 Pulitzer Winner for Fiction

When I was in the Navy, “Radiomen” who sat in the transmitter room dialed up frequencies, turned the knobs, listened to the static, and locked in. Those out at the Receiver Tower caught the signals from the ships; sender and receiver linked, and the messages were sent.


On a similar level, that’s what this remarkable historical novel is about–two youths, the transmitter, blind and aware Marie-Laure LeBlanc, who delicately probes her world with a fearless, quiet grace, and the receiver, Werner Pfenning, indoctrinated in the Nazi Youth Program, lost and crippled as he blindly receives the signals surrounding him. Anthony Doerr’s descriptive prose and poetic language carries the reader through the tumultuous years in France when the world was glued to the radio while World War II stripped away families and hope.

It is an easy read and entertaining novel with supporting characters that resonate. I haven’t loved a book in a long time, but this story, I can’t help but think anyone would like it.  However, I was surprised to read a NY Times book review from May 8, 2014 written by William t. Vollmann found HERE and his negative criticism of Doerr’s antagonist, Sergeant Major Reinhold von Rumpel, insinuating he was a cliche, too one-sided to be believed and that Doerr’s writing was lazy at times. I disagree.

When the two children finally meet, the sender and receiver connect, and the ending is satisfying. This is a Pulitzer winner I can cling to with enthusiasm. It is only a matter of time before it is made into a film. What child star could play the heroine Marie-Laure with the care that Anthony Doerr lovingly created in words?

Describing the science behind radios, gemology, and the animal kingdom with clarity and ease, this historical fiction novel is a mesmerizing page turner. 10/10. 

“Open your eyes and see what you can with them before they close forever” (48).

The Shell Collector, Four Seasons in Rome, and About Grace are Doerr’s three earlier novels. I am in a rush to read them. Is there one you recommend? What did you like about All The Light We Cannot See?