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Speaker 1: Pushkin. Hello Tim Harford here Today we're featuring an episode

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Speaker 1: from You Must Remember This. You Must Remember This is

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Speaker 1: the podcast dedicated to the secret and forgotten histories of

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Speaker 1: twentieth century Hollywood. Stories of sex, murder, institutional racism, bad men,

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Speaker 1: sad women, fascist gossip columnists, and much more. Their latest

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Speaker 1: season is called The Old Man Is Still Alive, and

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Speaker 1: it's about directors such as Alfred Hitchcock and John Ford

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Speaker 1: who got started in the Silent Era but were still

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Speaker 1: making movies in the psychedelic sixties. Keep listening for a

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Speaker 1: full episode of You Must Remember This, all about Alfred Hitchcock.

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Speaker 2: And Jaska k Welcome to another episode of You Must

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Speaker 2: Remember This, the podcast dedicated to exploring the secrets and

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Speaker 2: or forgotten histories of Hollywood's first century.

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Speaker 3: I'm your host, Karna Longworth, and this is another episode

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Speaker 3: of our ongoing series The Old Man Is Still Alive.

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Speaker 4: As Hollywood did No, I don't think so many years ago,

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Speaker 4: when I first started making pictures, of being in the

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Speaker 4: film business was a little bit disreputable. I hate rhymes

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Speaker 4: and pictures just as much as I do section and

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Speaker 4: old stories.

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Speaker 5: I've forgotten exlusively.

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Speaker 6: I've had such a good time in my life.

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Speaker 5: It wouldn't bother me a bit if I diet at

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Speaker 5: any I.

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Speaker 6: Think it's up to you, the younger fellas right now.

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Speaker 4: That there is one thing that I hate more than

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Speaker 4: not being taken seriously.

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Speaker 6: It's to be taken too seriously.

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Speaker 4: We're being chilled by woman's lip and I'm still alive

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Speaker 4: to tell dale.

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Speaker 3: In the mid nineteen fifties, over thirty years into his

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Speaker 3: directing career, Alfred Hitchcock shot to a new level of fame.

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Speaker 3: Much of this had to do with his television show

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Speaker 3: Alfred Hitchcock Presents, every episode of which was bookended by

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Speaker 3: appearances by Hitchcock himself, but it also had to do

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Speaker 3: with his movies, as simultaneously he entered into what many

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Speaker 3: would agree is the most spectacularly consistent, decade long stretch

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Speaker 3: of his career. Hitchcock made his first twenty five film

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Speaker 3: in England. He and his wife and frequent collaborator, Alma,

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Speaker 3: arrived in Hollywood in nineteen thirty nine. He insisted that

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Speaker 3: there was little difference between the British film industry and

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Speaker 3: the American one quote, if.

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Speaker 6: You ask why do you like working in Ollywood? I

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Speaker 6: would say, because I can get home at six o'clock

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Speaker 6: for dinner.

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Speaker 3: For much of the nineteen forties, hitch worked under contract

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Speaker 3: to mega producer David O'celznick. The first production of that partnership, Rebecca,

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Speaker 3: hadn't been a smooth ride. There had been much conflict

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Speaker 3: between Hitchcock and Salznick, but it had won the Best

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Speaker 3: Picture Oscar, the only one of Hitchcock's films to be

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Speaker 3: so honored. But by his final film for Salesnick, The

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Speaker 3: Paradigm Case in nineteen forty seven, Hitchcock had lost all

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Speaker 3: interest in fighting with the producer, who took over that

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Speaker 3: pick during post production. From then on, Hitchcock would act

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Speaker 3: as his own producer, although as we'll see, that didn't

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Speaker 3: necessarily protect him from studio interference. While the Selsnik era

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Speaker 3: included some future classics I'm Partial to Lifeboat and Notorious,

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Speaker 3: Hitchcock is better remembered for what came next, Beginning with

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Speaker 3: Strangers on a Train in nineteen fifty one. For over

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Speaker 3: a decade, Hitchcock cranked out one great film after another,

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Speaker 3: many of them high concept thrillers and stunning technocolor, including

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Speaker 3: Rear Window to Catch a Thief, Vertigo north By, Northwest

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Speaker 3: and more. In addition to gripping storytelling and incredible visual artistry,

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Speaker 3: these films were notable for their starry casts. Hitchworked repeatedly

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Speaker 3: with Carry grant Ingrid Bergman, Jimmy Stewart, and Grace Kelly,

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Speaker 3: but before this run ended, it was impossible not to

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Speaker 3: notice that Hitchcock's stars were aging out. Virtigo is considered

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Speaker 3: one of the greatest films ever made today, but in

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Speaker 3: nineteen fifty eight it was a box office flop, and

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Speaker 3: Hitchcock reportedly grumbled to friends that the problem was that

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Speaker 3: star Jimmy Stewart looked too old in it, and Kelly's

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Speaker 3: early retirement when she married the Prince of Monaco, which

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Speaker 3: we discussed at our Dead Blonde episode on Kelly, seemed

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Speaker 3: to Flummax Hitchcock as much as any other factor in

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Speaker 3: the rapidly changing Hollywood of the late nineteen fifties. In

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Speaker 3: the middle of this run came Psycho, a black and

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Speaker 3: white exploitation film, which, with its success and the controversy

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Speaker 3: it sparked, fundamentally changed Hollywood forever, not least by helping

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Speaker 3: to break down aspects of the production code that were

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Speaker 3: still lingering We've talked before about directors who had a

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Speaker 3: late career hits and then struggled to follow it up.

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Speaker 3: We've also talked about how the age of sixty was

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Speaker 3: often a demarcation point for our old man filmmakers when

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Speaker 3: things started to get weird. Hitchcock made Psycho when he

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Speaker 3: was sixty. Over the next decade and a half he

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Speaker 3: made six features, the most iconic of which was his

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Speaker 3: immediate follow up to Psycho, The Birds. Then came Marnie,

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Speaker 3: which is a transitional film in many ways, although maybe

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Speaker 3: none that Hitchcock would have chosen. He desperately wanted to

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Speaker 3: make it with Kelly, and when she declined to come

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Speaker 3: out of retirement, he cast his Birds star Tippi Hedron,

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Speaker 3: with devastating consequences to Hedron. Hitchcock's remaining four films, Torn Curtain,

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Speaker 3: topath As, Frenzy, and Family Plot are today amongst his

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Speaker 3: least scene and talked about. So today we will talk

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Speaker 3: about them, and also about how changes to the film

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Speaker 3: industry that took place in the nineteen sixties left Hitchcock,

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Speaker 3: who was then possibly the most famous film director in

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Speaker 3: the world, unable to seize on the momentum created by

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Speaker 3: his momentous hit Join Us, Won't You? For Part six

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Speaker 3: of The Old Man is Still Alive. More than any

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Speaker 3: other director we've discussed this season, Alfred Hitchcock embraced television.

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Speaker 3: That didn't mean he couldn't joke about it. Asked to

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Speaker 3: entertain at Lyndon Johnson's nineteen sixty five inauguration. Yes, that's

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Speaker 3: how famous Hitchcock was at this time. Hitchc compaired the

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Speaker 3: invention of television to.

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Speaker 6: The introduction of vendor plumbing. Fundamentally, it brought no change

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Speaker 6: in the public sabbots. It simply eliminated the necessity of

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Speaker 6: leaving the house.

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Speaker 3: By the time he said this, hitch had been coming

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Speaker 3: into his public's house via his TV show for ten years.

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Speaker 3: As much as the director was clearly firing on all

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Speaker 3: cylinders creatively for the second half of the fifties, it

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Speaker 3: seems undeniable that his presence on television enhanced his celebrity,

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Speaker 3: turning his movies into events in a way that they

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Speaker 3: hadn't been previously. This peaked with Psycho Paramount, where hitch

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Speaker 3: was under contract at the time. Thought so little of

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Speaker 3: the project that in order to make it, hitch had

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Speaker 3: to forego his fee and agree to finance the movie

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Speaker 3: himself in order for the studio to agree to distribute it.

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Speaker 3: Hitch ended up employing the crew from his own television

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Speaker 3: show and shooting on TV sound stages at Universal. Thanks

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Speaker 3: in part to its low budget, Psycho was insanely profitable,

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Speaker 3: no pun intended. It became the second highest grossing movie

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Speaker 3: of nineteen sixty, earning at the box office over ten

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Speaker 3: times its budget. The morning after the premiere of Psycho,

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Speaker 3: Lou Wasserman, who was Hitchcock's agent friend and then the

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Speaker 3: head of MCA Universal, the studio where the director spent

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Speaker 3: much of his Hollywood career, sent him a telegram asking

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Speaker 3: what will you do for an encore? Unusually for Hitchcock,

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Speaker 3: he didn't have a next project already lined up. He

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Speaker 3: was more shocked by the success of Psycho than anyone.

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Speaker 6: Is this bonny piece of crop, he reportedly said, And

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Speaker 6: the money doesn't stop coming in, Possibly because he was

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Speaker 6: embarrassed by this new cash cow. Hitchcock soon sold the

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Speaker 6: rights to Psycho and his TV show to Universal, who

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Speaker 6: paid him in stock, making him the third largest shareholder

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Speaker 6: of the studio. He'd spend the rest of his career

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Speaker 6: making films there, Hitchcock was nominated for an Oscar for

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Speaker 6: directing Psycho. He didn't win. The film won none of

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Speaker 6: the four Oscars it was nominated for, and little did

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Speaker 6: anyone know at the time that this would be the

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Speaker 6: last of Hitchcock's films to be recognized. With so many nominations,

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Speaker 6: Hitchcock did not know that Psycho would be his last

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Speaker 6: opportunity for Academy recognition, but once the film struck out

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Speaker 6: on Oscar Night, his low opinion of that Body was confirmed.

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Speaker 6: They didn't like him clearly, and he didn't like them.

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Speaker 6: When the Academy finally gave him the Honorary Thalberg Award

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Speaker 6: in nineteen sixty eight, he gave what Peter Bogdanovich called

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Speaker 6: the shortest speech in Oscar history, greeting the crowd's standing

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Speaker 6: ovation by merely saying thank you and then walking off

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Speaker 6: the stage. After Psycho, hitch believed that he was on

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Speaker 6: the cusp of what he called a golden period. He

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Speaker 6: ended up finding his next film after hearing about two

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Speaker 6: separate stories of unexplained bird attacks. We talked about the

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Speaker 6: Birds and its star Tippy Hedron in our Erotic eighties

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Speaker 6: episode on Body double and Hedron's daughter, Melanie Griffith. You

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Speaker 6: may want to revisit that episode before you go any

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Speaker 6: further in this episode, but suffice it to say Hitchcock

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Speaker 6: discovered Hedron, molded her into his fetish object, repeatedly sexually

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Speaker 6: harassed her, and after Hedrin rejected him on the set

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Speaker 6: of Marnie, threw a fatal wrench in her career by

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Speaker 6: keeping her under contract and refusing to lend her to

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Speaker 6: other filmmakers. One irony here was that Hitchcock had made

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Speaker 6: a deliberate choice to cast an unknown actress in The

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Speaker 6: Birds because he wanted to prove that, in an era

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Speaker 6: in which movie stars had unprecedented power, he didn't need

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Speaker 6: a Carry Grant or a Grace Kelly, because hitch himself

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Speaker 6: was star enough. But when The Birds had failed to

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Speaker 6: perform as well as Psycho, he hedged his bets on

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Speaker 6: Marnie by casting one of the biggest stars in the

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Speaker 6: world at that moment, Sean Connery, who had appeared in

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Speaker 6: two James Bond films already. Marnie, in which Hedron gives

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Speaker 6: an astonishing performance as a woman dealing with multiple layers

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Speaker 6: of highly Freudian trauma, would be the last prestigious film

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Speaker 6: that would give this actress the chance to play a

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Speaker 6: leading role. It also ground Hitchcock's post Psycho momentum to

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Speaker 6: a halt. The Birds had been a commercial disappointment compared

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Speaker 6: to Psycho. Screenwriter Hunter recalled going to one movie theater

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Speaker 6: to see it, where the audience was flu mixed by

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Speaker 6: the film's inconclusive ending. But Marnie was an actual flop,

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Speaker 6: Hitchcock's first in ten years. Again, the ending was a problem,

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Speaker 6: but in this case, the real problem was that the

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Speaker 6: film spent most of its running time unraveling Marnie's psychosis

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Speaker 6: without suggesting within the narrative that Connery's character, who rapes

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Speaker 6: his wife on their wedding night, maybe needs to work

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Speaker 6: on his own shit. So when the film ends with

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Speaker 6: the couple enjoying an ostensible happy ending, even a nineteen

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Speaker 6: sixty four audience was a little what the fuck. Hitchcock

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Speaker 6: later acknowledged that this was his mistake, comparing Marnie's husband

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Speaker 6: to a necrophiliac and adding.

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Speaker 5: O I'd say he's damned un healthy as a character.

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Speaker 3: This was a painful flop too, because in so many

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Speaker 3: ways it served as examples of obsession gone wrong. Hunter

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Speaker 3: remembered that while making The Birds, his next movie was

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Speaker 3: all Hitch seemed to want to talk about. We discussed

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Speaker 3: Marnie on the sixty mile ride to and from location.

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Speaker 3: Were called Hunter. We discussed Marnie during lulls in the shooting,

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Speaker 3: and during lunch and during dinner.

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Speaker 5: Every night.

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Speaker 3: We discussed Marnie interminably. Hitch wanted Hunter to write this

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Speaker 3: next film, but Hunter bristled at some of the director's ideas.

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Speaker 3: When the writer told the director that the idea of

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Speaker 3: scripting the scene in which Marnie is raped by her

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Speaker 3: husband on her wedding night disturbed me enormously, Hitch responded, Oh,

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Speaker 3: don't worry about that.

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Speaker 6: That will be fine.

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Speaker 3: During another conversation about the scene, Hunter reported that Hitch

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Speaker 3: told him Evan, when he sticks it in her, I

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Speaker 3: want that camera right on her face. Hunter persisted in

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Speaker 3: thinking that the rape scene was offensive, not because it

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Speaker 3: was a rape scene, but because it seemed out of

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Speaker 3: character for the Connery character. Hitch was unmoved by this argument,

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Speaker 3: and when Hunter turned in a version of the wedding

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Speaker 3: night scene with no rape, he was fired and replaced

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Speaker 3: by j Press and Allen, somewhat notorious for her anti feminism.

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Speaker 3: Press and Allen said she didn't see it as a rape,

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Speaker 3: but a quote unquote trying marital situation. And yet historians

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Speaker 3: who have studied press and Allan's contributions to Marnie have

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Speaker 3: cited elements including her introduction of animal imagery, planting the

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Speaker 3: idea that Marnie was being preyed on by her husband,

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Speaker 3: as well as her shaping of the rape scene itself

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Speaker 3: in a way that, to quote Tanya Mudleski, elicits the

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Speaker 3: feminist interpreter's sympathy for its trapped and caged heroine. Then

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Speaker 3: there's this passage from Peter Ackroyd's Hitchcock biography quote Hitchcock

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Speaker 3: told press and Allen of a recurrent dream he had

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Speaker 3: in which his penis was made of crystal, a fact

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Speaker 3: which he was obliged to conceal from Alma. Allan laughed

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Speaker 3: and told him that the obvious interpretation was that he

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Speaker 3: was trying to keep his talent separate and safe from Alma.

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Speaker 3: In addition to its shall we say, complicated sexual politics,

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Speaker 3: Marnie felt out of step with contemporary Hollywood, even to

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Speaker 3: some people involved in making the film one was Rita Riggs,

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Speaker 3: a costume designer, who described the movie as feeling frozen

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Speaker 3: in time. It's not clear on which movie Hitchcock began

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Speaker 3: drinking screwdrivers from a flask onset, but Ackroyd reports that

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Speaker 3: on Marnie, quote, Hitchcock himself was not well. He was

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Speaker 3: drinking more than ever and often fell asleep after lunch.

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Speaker 3: Ackroyd posits this may have been a contributing factor to

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Speaker 3: the sexual harassment alleged by Hedron and also by Marney

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Speaker 3: co star Diane Baker, who reported that once Hitchcock showed

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Speaker 3: up in her dressing room and kissed her on the mouth,

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Speaker 3: which made her so anxious that she had to see

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Speaker 3: a doctor. Wrote that at this stage, hitch was quote

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Speaker 3: simply behaving like an old fool and a drunken one

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Speaker 3: at that Jay President Allen, for her part, suggested that

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Speaker 3: Hedron over reacted quote I was there throughout all that time,

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Speaker 3: and the problem that Tippy people have talked about over

248
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Speaker 3: the years was not that overt, not at all. Hitch

249
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Speaker 3: was only trying to make a star out of her.

250
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Speaker 3: He may have had something like a crush on her,

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Speaker 3: but there was nothing overt. Nothing nothing. He would never

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Speaker 3: in one million years do anything to embarrass himself. He

253
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Speaker 3: was a very Edwardian fellow. What I will say here

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Speaker 3: is that Allan was not from the believe women generation.

255
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Speaker 3: On the contrary, the early sixties was not exactly a

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Speaker 3: golden age for women getting to collaborate closely with powerful,

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Speaker 3: famous filmmakers, and it was common for women who snagged

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Speaker 3: one of the few seats a mostly male table to

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Speaker 3: internalize misogyny and look down on other women who said

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Speaker 3: they felt they experienced sexism or worse from the men

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Speaker 3: responsible for hiring all of them. In nineteen sixty four,

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Speaker 3: the year Marnie was released, Peter Bogdanovich and Polly Platt

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Speaker 3: went to Hitchcock's New York hotel room to interview him.

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Speaker 3: Hitch drank several frozen dakeries that afternoon. Bogdanovitch recalled, this

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Speaker 3: most famous director in picture history had a number of

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Speaker 3: times admonished me with a slightly ominous you're not drinking

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Speaker 3: your drink, by which he meant my frozen dakri. Bogdanovitch recalled,

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Speaker 3: I had never had one before and rarely drank alcohol

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Speaker 3: of any sort. But his mischievous urging had resulted in

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Speaker 3: my becoming quietly smashed, and therefore not at all sure

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Speaker 3: that I hadn't missed some key sentence. Perhaps I was

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Speaker 3: too drunk to understand him. Polly, equally high, was now

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Speaker 3: squinting slightly at hitch By nineteen sixty four, Hitchcock was

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Speaker 3: more recognizable than any director had been in the history

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Speaker 3: of movies, thanks to his cameos in his films and

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Speaker 3: his weekly TV appearances.

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Speaker 5: According to Bogdanovich.

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Speaker 3: No other director also had so often been written off

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Speaker 3: by fashionable critics as having fallen into irredeemable decline. By

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Speaker 3: the end of the sixties, in Hollywood, Hitchcock was generally

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Speaker 3: considered over the hill. Much of that decline in reputation

282
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Speaker 3: had to do with Marnie, as well as his next

283
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Speaker 3: two films, Torn Curtain and Topaz. In nineteen sixty two,

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Speaker 3: while he was editing The burd Words, Hitchcock agreed to

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Speaker 3: sit down for a series of interviews with Francois Truffau.

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Speaker 3: This was the year, as Truffau would write later, when

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Speaker 3: Hitchcock was at the peak.

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Speaker 5: Of his creative powers.

289
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Speaker 3: There's only one place to go from a peak, though,

290
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Speaker 3: and that's down. In the book he compiled based on

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Speaker 3: their interviews and correspondence, initially titled Hitchcock but better known

292
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Speaker 3: as Hitchcock Trufa, Trufau writes, I am convinced that Hitchcock

293
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Speaker 3: was never the same of DORMONI under that its failure

294
00:21:45,410 --> 00:21:51,290
Speaker 3: costume considerable amount of confidence. A page later, he adds,

295
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Speaker 3: I am convinced that teach COCKO was not satisfied with

296
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Speaker 3: any of the films he made after Psycho. If Hitchcock

297
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Speaker 3: knowingly or otherwise was on the decline when he first

298
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Speaker 3: sat down with Truffau, the Frenchman was undoubtedly still on

299
00:22:08,810 --> 00:22:13,730
Speaker 3: the swing. The year he began interviewing Hitchcock, he released

300
00:22:13,810 --> 00:22:17,210
Speaker 3: one of the masterpieces of the era, Jules e Gim,

301
00:22:17,730 --> 00:22:22,130
Speaker 3: which came just three years after his directorial debut. The

302
00:22:22,170 --> 00:22:27,250
Speaker 3: Four Hundred Blows, helped launch the French New Wave. Truffeau

303
00:22:27,370 --> 00:22:30,490
Speaker 3: had moved on to filmmaking after spending much of the

304
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Speaker 3: previous decade as a revolutionary film critic who deliberately attacked

305
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Speaker 3: sacred French cows and was instrumental in developing the auteur theory.

306
00:22:42,250 --> 00:22:46,410
Speaker 3: Hitchcock biographer Peter Ackroyd claimed that Hitchcock had been known

307
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Speaker 3: to refer to the filmmakers of the French New Wave

308
00:22:49,330 --> 00:22:55,930
Speaker 3: or Enfrancis nouvelle Vague as nouvelle vagrants, but at the

309
00:22:55,970 --> 00:22:59,970
Speaker 3: same time, hitch was legitimately touched that a younger generation

310
00:23:00,210 --> 00:23:05,170
Speaker 3: had such an appreciation for his body of work. Hitchcock

311
00:23:05,330 --> 00:23:08,770
Speaker 3: was well aware that his films were collaborative, not least

312
00:23:08,810 --> 00:23:13,450
Speaker 3: with him his wife, frequent screenwriter and most trusted advisor, Alma,

313
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Speaker 3: but in conversation with one of the leading proponents of

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Speaker 3: our tour theory, according to Akroyd, it suited his purpose

315
00:23:22,210 --> 00:23:28,370
Speaker 3: to minimize their contributions. But after Hitchcock's death, considering how

316
00:23:28,450 --> 00:23:32,410
Speaker 3: Hitchcock had fit into the theory, Truffau considered an aspect

317
00:23:32,450 --> 00:23:35,330
Speaker 3: of auturism that had little to do with the creative

318
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Speaker 3: contributions of other members of the crew.

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Speaker 6: All the interesting filmmakers, those who were referred to as

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00:23:42,690 --> 00:23:46,530
Speaker 6: outs padique de cinema in nineteen fifty five before the

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00:23:46,730 --> 00:23:51,610
Speaker 6: term was distorted, concealed themselves behind various characters in the

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Speaker 6: movies Hitchcock achieved abuted to a divorce in inducing the

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Speaker 6: public to identify with the attractive leading man whereas Hugekoki

324
00:24:00,970 --> 00:24:05,090
Speaker 6: himself almost always identified with the supporting rule the man

325
00:24:05,130 --> 00:24:10,410
Speaker 6: who is cuckoo, died and disappointed, the killer or monster,

326
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Speaker 6: the men rejected by others, the man who has no

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Speaker 6: right to love, the man who looks on without being

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Speaker 6: able to participate.

329
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Speaker 3: In other words, an autour puts himself in the movie

330
00:24:24,730 --> 00:24:28,930
Speaker 3: one way or another, and Hitchcock did this literally. But

331
00:24:29,010 --> 00:24:33,010
Speaker 3: he also baked into his films his own insecurities and faults,

332
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Speaker 3: and then misdirected the audience. Don't look at me, look

333
00:24:37,810 --> 00:24:41,890
Speaker 3: at Kerry Grant. So many of his films explore what

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00:24:41,930 --> 00:24:46,530
Speaker 3: are essentially b DSM dynamics, and it is certainly interesting

335
00:24:46,650 --> 00:24:50,290
Speaker 3: to consider the masochism of identifying with his most loathsome

336
00:24:50,370 --> 00:24:57,690
Speaker 3: characters as Hitchcock's key authorial fingerprint. So that summer of

337
00:24:57,770 --> 00:25:00,610
Speaker 3: nineteen sixty two, Trufa, who was staying at the Beverly

338
00:25:00,690 --> 00:25:04,410
Speaker 3: Hills Hotel, and his interpreter would ride with Hitchcock in

339
00:25:04,450 --> 00:25:08,410
Speaker 3: his limo over the hill to Universal Studios. They would

340
00:25:08,450 --> 00:25:11,570
Speaker 3: talk on the record all day long until six pm,

341
00:25:12,010 --> 00:25:15,090
Speaker 3: taking a break for Hitch's standard lunch of steak freed.

342
00:25:16,170 --> 00:25:19,410
Speaker 3: Though their initial encounters took place in nineteen sixty two

343
00:25:19,930 --> 00:25:23,210
Speaker 3: and you can watch them on YouTube. Truffau would become

344
00:25:23,210 --> 00:25:26,810
Speaker 3: a kind of confidante for Hitchcock for the next few years.

345
00:25:27,770 --> 00:25:31,170
Speaker 3: Over three years later, hitch wrote to Truffau to explain

346
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Speaker 3: that he felt he had been ripped off by Connery's

347
00:25:34,330 --> 00:25:37,570
Speaker 3: day job. He had realized, he wrote.

348
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Speaker 6: Since James Bond in the imitators of James Bond, or

349
00:25:43,210 --> 00:25:48,690
Speaker 6: more or less making my wild adventure films such as

350
00:25:48,810 --> 00:25:54,290
Speaker 6: north By Northwest wilder than ever, I felt that I

351
00:25:54,370 --> 00:25:59,530
Speaker 6: should not try and go one better. I thought I

352
00:25:59,570 --> 00:26:03,450
Speaker 6: would return to the adventure film, which would give us

353
00:26:03,530 --> 00:26:11,290
Speaker 6: the opportunity for some human emotions. In an interview with Bogdanovich,

354
00:26:11,690 --> 00:26:15,050
Speaker 6: Hitchcock cited several examples of how the Bond films were

355
00:26:15,090 --> 00:26:19,650
Speaker 6: getting credit for things he invented. In addition to feeling

356
00:26:19,690 --> 00:26:22,610
Speaker 6: the crop duster scene in north By Northwest had been

357
00:26:22,690 --> 00:26:27,530
Speaker 6: retread in from Russia with Love, he also cited Arabesque

358
00:26:27,570 --> 00:26:30,730
Speaker 6: and That Man from Rio as other recent films that

359
00:26:30,890 --> 00:26:34,690
Speaker 6: copied him. He may have also felt some bitterness over

360
00:26:34,690 --> 00:26:37,690
Speaker 6: the bad reception of Marnie, a film in which he

361
00:26:37,730 --> 00:26:41,690
Speaker 6: did try to challenge the audience. Perhaps that guided his

362
00:26:41,770 --> 00:26:45,970
Speaker 6: thinking in putting together Torn Curtain, a film which its

363
00:26:46,090 --> 00:26:51,050
Speaker 6: credited screenwriter Brian Moore described as little else than a

364
00:26:51,130 --> 00:26:56,090
Speaker 6: Hitchcock compendium. When Moore told hitch that he thought the

365
00:26:56,130 --> 00:26:59,970
Speaker 6: film should either be scrapped or rewritten from scratch, he

366
00:27:00,170 --> 00:27:04,610
Speaker 6: was fired, and Keith Waterhouse and Willis Hall, the writers

367
00:27:04,650 --> 00:27:09,810
Speaker 6: of Billy Lyer, were brought in. Hitch began she before

368
00:27:09,850 --> 00:27:13,450
Speaker 6: the rewrites were finished, and the script remained what Ackroyd

369
00:27:13,490 --> 00:27:19,610
Speaker 6: referred to as a dead weight throughout the production. Certainly,

370
00:27:19,770 --> 00:27:23,890
Speaker 6: stars Paul Newman and Julie Andrews felt weighed down by

371
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Speaker 6: the material. Newman wrote Hitchcock a letter detailing his issues

372
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Speaker 6: with the script, which not only annoyed Hitchcock but damaged

373
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Speaker 6: his confidence. Because he had been convinced by the studio

374
00:27:36,690 --> 00:27:39,650
Speaker 6: to cast these top stars, and one of them was

375
00:27:39,730 --> 00:27:46,650
Speaker 6: now directly criticizing him, Hitchcock's fears were justified. During the shooting,

376
00:27:46,970 --> 00:27:50,410
Speaker 6: Newman recalled, we all wished we didn't have to make it.

377
00:27:51,490 --> 00:27:55,970
Speaker 6: Hitch swiftly lost interest too, and could be heard grumbling

378
00:27:56,010 --> 00:28:00,050
Speaker 6: about how much money these stars were costing. No wonder

379
00:28:00,130 --> 00:28:04,170
Speaker 6: when Newman asked the director about his motivation in one scene,

380
00:28:05,090 --> 00:28:06,690
Speaker 6: hitch responded.

381
00:28:06,650 --> 00:28:10,050
Speaker 5: The all motivation is salary.

382
00:28:12,690 --> 00:28:15,930
Speaker 3: Hitch also had a fatal falling out with composer Bernard

383
00:28:15,970 --> 00:28:20,570
Speaker 3: Herman during the course of making this film. According to Akroyd,

384
00:28:20,770 --> 00:28:23,410
Speaker 3: hitch wanted a more modern score than he had done

385
00:28:23,410 --> 00:28:26,050
Speaker 3: in the past. He wrote to Herman that he was

386
00:28:26,090 --> 00:28:29,130
Speaker 3: thinking about a new generation of moviegoers.

387
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Speaker 6: This audience is very different to the one to which

388
00:28:33,810 --> 00:28:39,810
Speaker 6: we used to cater, he wrote. It is young, vigorous

389
00:28:40,090 --> 00:28:45,770
Speaker 6: and demanding. It is this fact that has been recognized

390
00:28:46,290 --> 00:28:51,770
Speaker 6: by almost all the European filmmakers, where they have sought

391
00:28:51,810 --> 00:28:56,930
Speaker 6: to introduce a bait and rhythm that is more in

392
00:28:57,210 --> 00:29:02,850
Speaker 6: tune with the requirement of the afore said audience.

393
00:29:04,290 --> 00:29:08,970
Speaker 3: Herman responded by saying that he didn't make pop music. Herman,

394
00:29:09,170 --> 00:29:12,370
Speaker 3: who had worked on eight Hitchcock films over the previous decade,

395
00:29:13,090 --> 00:29:16,490
Speaker 3: walked off the project and they never worked together again.

396
00:29:17,770 --> 00:29:20,650
Speaker 3: For what it's worth, truefo attributes to the firing of

397
00:29:20,650 --> 00:29:24,370
Speaker 3: Herman to Universal's desperation to keep up with the times

398
00:29:24,770 --> 00:29:28,690
Speaker 3: and not Hitchcocks. As Truefou wrote.

399
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Speaker 6: One must be in Nindier that in sixty six in

400
00:29:32,010 --> 00:29:35,490
Speaker 6: Hollywood and Duswa it was the buctice of the film

401
00:29:35,530 --> 00:29:40,050
Speaker 6: industry to favoscos that would said as populovkods, the kind

402
00:29:40,090 --> 00:29:43,810
Speaker 6: of film music that could be done to in discotheqs.

403
00:29:43,850 --> 00:29:47,730
Speaker 6: In this sort of game, Elemen, a disciple of Wagner

404
00:29:47,810 --> 00:29:54,610
Speaker 6: and Stravinsky, was bound to be Hoduce, a loser.

405
00:29:54,770 --> 00:29:57,930
Speaker 3: Despite the presence of two stars who were very hot.

406
00:29:57,690 --> 00:29:58,850
Speaker 5: In nineteen sixty six.

407
00:29:59,170 --> 00:30:02,850
Speaker 3: In more ways than one, Torn Curtain lacks the free

408
00:30:02,890 --> 00:30:06,450
Speaker 3: zone between male and female leads that propels so many

409
00:30:06,530 --> 00:30:11,930
Speaker 3: Hitchcock films about couples. Julie Andrews was no Hitchcock blonde,

410
00:30:12,370 --> 00:30:15,010
Speaker 3: and in fact, this was the first of his films

411
00:30:15,050 --> 00:30:18,130
Speaker 3: without such an idealized product of his own fantasies in

412
00:30:18,170 --> 00:30:23,450
Speaker 3: about a decade. Torn Curtain begins with its stars in bed,

413
00:30:23,730 --> 00:30:26,210
Speaker 3: but for the rest of the film's two plus hours

414
00:30:26,330 --> 00:30:30,290
Speaker 3: it lacks sexual energy, and it's hard to tell what

415
00:30:30,450 --> 00:30:33,210
Speaker 3: is the chicken and what is the egg? Is this

416
00:30:33,290 --> 00:30:36,570
Speaker 3: movie not sexy because hitch wasn't that interested in it,

417
00:30:37,250 --> 00:30:40,330
Speaker 3: or was he not that interested in it because he

418
00:30:40,330 --> 00:30:45,930
Speaker 3: couldn't make it more about sex. Hitchcock's disinterest in Julie

419
00:30:45,930 --> 00:30:49,290
Speaker 3: Andrews is the obvious weak point of the movie. And

420
00:30:49,370 --> 00:30:54,250
Speaker 3: his confusion as to how to objectify her paradoxically leads

421
00:30:54,250 --> 00:30:59,570
Speaker 3: to Torn Curtain's most memorable scenes. In one, Newman finally

422
00:30:59,650 --> 00:31:02,970
Speaker 3: confides in his fiance something the audience has known.

423
00:31:02,850 --> 00:31:03,450
Speaker 5: For a while.

424
00:31:04,690 --> 00:31:07,370
Speaker 3: Just the fact that the movie is structured this way

425
00:31:07,770 --> 00:31:10,650
Speaker 3: so that for its first two thirds, Newman, the most

426
00:31:10,690 --> 00:31:14,930
Speaker 3: gorgeous man in movies, is essentially sneaking around behind his

427
00:31:15,050 --> 00:31:18,370
Speaker 3: partner's back with the viewer is a sign that Hitch

428
00:31:18,450 --> 00:31:22,050
Speaker 3: himself seemed to think marriage to Mary Poppins would only

429
00:31:22,130 --> 00:31:27,250
Speaker 3: be tolerable through infidelity. But then, in this confession scene,

430
00:31:27,690 --> 00:31:31,170
Speaker 3: Hitch films the pair kissing in a way that highlights

431
00:31:31,570 --> 00:31:36,610
Speaker 3: and even eroticizes the glistening tears on her face. The

432
00:31:36,650 --> 00:31:39,650
Speaker 3: only other scene in the film that compares in terms

433
00:31:39,650 --> 00:31:44,210
Speaker 3: of erotic charge is when a female doctor trips Newman

434
00:31:44,330 --> 00:31:46,530
Speaker 3: so she can get him alone in her exam room

435
00:31:46,570 --> 00:31:50,610
Speaker 3: to talk about spy shit. She has caused an accident

436
00:31:50,650 --> 00:31:54,010
Speaker 3: that broke his ribs and treats his injuries while she

437
00:31:54,090 --> 00:31:56,570
Speaker 3: talks about how she's going to help him to safety.

438
00:31:57,930 --> 00:32:02,370
Speaker 3: Newman is bare, torsoed and prone in this scene, making

439
00:32:02,410 --> 00:32:06,810
Speaker 3: it empirically the sexiest moment in the picture and revealing

440
00:32:06,930 --> 00:32:10,170
Speaker 3: him as a sexual object in a way that hitch

441
00:32:10,290 --> 00:32:14,570
Speaker 3: seemingly can't when he's in the frame with Andrews. But

442
00:32:14,690 --> 00:32:19,930
Speaker 3: in both scenes, hitch suggests pain is a necessary precursor

443
00:32:19,970 --> 00:32:26,170
Speaker 3: for relief and release. When Bosley Crowther wrote in The

444
00:32:26,170 --> 00:32:29,970
Speaker 3: New York Times that Torn Curtain quote looks no more

445
00:32:30,130 --> 00:32:35,290
Speaker 3: novel or sensational than grandma's old knitted shawl, he seems

446
00:32:35,330 --> 00:32:40,450
Speaker 3: to have missed the movie's actual and substantial attractions. Torn

447
00:32:40,490 --> 00:32:44,530
Speaker 3: Curtain is a good, intense spy movie, the kind where

448
00:32:44,570 --> 00:32:46,970
Speaker 3: you are on the edge of your seat watching two

449
00:32:47,050 --> 00:32:52,450
Speaker 3: scientists scarling dueling formulas on a chalkboard. There is some

450
00:32:52,810 --> 00:32:56,770
Speaker 3: dated technology in it. The only way to explain why

451
00:32:56,890 --> 00:32:59,610
Speaker 3: hitchcock Y's is rear projection. In the scene in which

452
00:32:59,690 --> 00:33:02,170
Speaker 3: Newman reveals to the audience that he's a double agent.

453
00:33:02,770 --> 00:33:06,810
Speaker 3: Is that Hitchcock liked rear projection. But that scene is

454
00:33:06,930 --> 00:33:10,770
Speaker 3: immediately followed by an incredible and not at all old

455
00:33:10,850 --> 00:33:14,290
Speaker 3: fashioned sequence in which Newman and a woman he's just

456
00:33:14,450 --> 00:33:18,050
Speaker 3: met have to silently kill a Stossy agent who has

457
00:33:18,090 --> 00:33:22,570
Speaker 3: found him out. But what really must have stung was

458
00:33:22,570 --> 00:33:26,810
Speaker 3: that Crowther made his Grandma's old shawl dig In the

459
00:33:26,850 --> 00:33:30,010
Speaker 3: context of comparing Hitch's movie to the Bond film From

460
00:33:30,090 --> 00:33:33,650
Speaker 3: Russia with Love, Hitchcock felt he had been ripped off

461
00:33:33,690 --> 00:33:37,690
Speaker 3: by the Bond franchise and that specific film, and now

462
00:33:37,770 --> 00:33:41,410
Speaker 3: he was being perceived as a grandma compared to those

463
00:33:41,610 --> 00:33:46,770
Speaker 3: zeitgeisty movies of the sixties, and Crowther was hardly alone.

464
00:33:47,370 --> 00:33:50,810
Speaker 3: Times critic complained that though hitch had access to exciting

465
00:33:50,850 --> 00:33:55,490
Speaker 3: stars and a good screenwriter, he quotes Fritter's away their

466
00:33:55,650 --> 00:33:59,010
Speaker 3: talents in a limp spy story that has about as

467
00:33:59,090 --> 00:34:03,570
Speaker 3: much fizz as a can of warm beer. Diane Thomas,

468
00:34:03,610 --> 00:34:08,770
Speaker 3: writing in the Atlanta Constitution, shrugged tarn Curtin amounts almost

469
00:34:08,850 --> 00:34:12,690
Speaker 3: to a reminiscence of his earlier style, while allowing that

470
00:34:13,250 --> 00:34:16,170
Speaker 3: it is what audiences have come to expect from a

471
00:34:16,210 --> 00:34:19,930
Speaker 3: man who is a master of his art. As biographer

472
00:34:19,970 --> 00:34:24,330
Speaker 3: Donald Spoto put it, after a decade of successes, the

473
00:34:24,370 --> 00:34:30,810
Speaker 3: release of Torn Curtain was a disappointment for just about everyone.

474
00:34:31,490 --> 00:34:34,530
Speaker 3: It's safe to say that by this time Hitchcock was

475
00:34:34,570 --> 00:34:40,330
Speaker 3: demoralized by the state of the movies. He complained to Bogdanovich.

476
00:34:40,250 --> 00:34:45,690
Speaker 6: Most films today are just pictures of people talking.

477
00:34:46,690 --> 00:34:50,050
Speaker 3: So it was significant that when he saw Michael Angelo

478
00:34:50,130 --> 00:34:55,010
Speaker 3: Antonioni's blow Up, which became a surprise blockbuster around the

479
00:34:55,050 --> 00:34:58,730
Speaker 3: world in nineteen sixty six and nineteen sixty seven, Hitchcock

480
00:34:59,050 --> 00:34:59,850
Speaker 3: was inspired.

481
00:35:00,930 --> 00:35:06,130
Speaker 6: These Italian directors are essentially ahead of me in terms

482
00:35:06,170 --> 00:35:11,850
Speaker 6: of technique, he exclaimed as himself rhetorically but also maybe literally.

483
00:35:12,770 --> 00:35:15,650
Speaker 6: What have I been doing all this time?

484
00:35:17,090 --> 00:35:20,410
Speaker 3: Hitchcock was becoming woke to the new cinema just in time.

485
00:35:21,010 --> 00:35:23,570
Speaker 3: At the end of nineteen sixty seven, the top ten

486
00:35:23,730 --> 00:35:26,330
Speaker 3: grossing movies of the year would include The Graduate and

487
00:35:26,490 --> 00:35:29,930
Speaker 3: Number One, as well as Bonnie and Clyde, two Sydney

488
00:35:29,930 --> 00:35:32,930
Speaker 3: Poitier vehicles. Hitchcock had not yet made a film with

489
00:35:32,930 --> 00:35:37,210
Speaker 3: a black Star and yet another James Bond film, You

490
00:35:37,410 --> 00:35:43,450
Speaker 3: Only Live Twice. Hitchcock started envisioning a modern serial killer thriller,

491
00:35:43,810 --> 00:35:48,370
Speaker 3: complete with nudity and graphic violence. But this time it

492
00:35:48,450 --> 00:35:51,370
Speaker 3: was Universal who didn't want to get with the times.

493
00:35:51,850 --> 00:35:54,850
Speaker 3: After not having a single film on the annual top

494
00:35:54,890 --> 00:35:58,890
Speaker 3: ten for nineteen sixty six, Universal bounced back in nineteen

495
00:35:58,890 --> 00:36:02,010
Speaker 3: sixty seven with one title on the list, The Julie

496
00:36:02,010 --> 00:36:06,490
Speaker 3: Andrews starring thoroughly modern Millie. Though this was a period

497
00:36:06,570 --> 00:36:10,250
Speaker 3: musical set in the nineteen twenties, as we discussed last week,

498
00:36:10,410 --> 00:36:13,690
Speaker 3: for a brief time, period musicals which looked back at

499
00:36:13,690 --> 00:36:18,210
Speaker 3: the past in a couple of ways became irresistible cash cows,

500
00:36:18,890 --> 00:36:21,370
Speaker 3: even as films like The Graduate and Bunny and Clyde

501
00:36:21,370 --> 00:36:26,730
Speaker 3: were pointing at the future. In any case, Universal was

502
00:36:26,810 --> 00:36:30,730
Speaker 3: not in the business of making buzzy hits for young audiences.

503
00:36:31,130 --> 00:36:34,450
Speaker 3: They were in the business of keeping the old guard employed.

504
00:36:35,330 --> 00:36:40,810
Speaker 3: In fact, according to Henry Hathaway biographer Harold Poemainville, Universal

505
00:36:41,010 --> 00:36:46,090
Speaker 3: was the one studio apparently determined to hold out against

506
00:36:46,210 --> 00:36:50,890
Speaker 3: the youth revolution. In fact, they took the opposite tactic.

507
00:36:51,370 --> 00:36:55,130
Speaker 3: As a publicity stunt. They signed over the hill directors

508
00:36:55,170 --> 00:36:59,490
Speaker 3: like Mervin Lee Roy to development deals, gave them offices

509
00:36:59,530 --> 00:37:02,690
Speaker 3: on the lot, and let them spin their wheels, developing

510
00:37:02,770 --> 00:37:06,530
Speaker 3: projects that would never get made until the old timers

511
00:37:06,610 --> 00:37:11,890
Speaker 3: gave up and retired. Though Hitchcock was absolutely an old man,

512
00:37:12,290 --> 00:37:15,730
Speaker 3: he turned sixty eight in nineteen sixty seven, and though

513
00:37:15,770 --> 00:37:19,690
Speaker 3: his collaborators believed his glory days were behind him, he

514
00:37:19,810 --> 00:37:21,730
Speaker 3: had no intention to retire.

515
00:37:22,930 --> 00:37:24,690
Speaker 5: But Universal refused.

516
00:37:24,250 --> 00:37:26,850
Speaker 3: To let him make his serial Killer movie, which he

517
00:37:26,970 --> 00:37:32,570
Speaker 3: wanted to call Kaleidoscope Frenzy. According to Howard Fast, who

518
00:37:32,570 --> 00:37:36,450
Speaker 3: had been working on the Serial Killer script, Universal Quote

519
00:37:36,890 --> 00:37:40,450
Speaker 3: had belittled Hitchcock's attempt to do precisely what they had

520
00:37:40,490 --> 00:37:43,970
Speaker 3: been urging him to do, to attempt something different, to

521
00:37:44,130 --> 00:37:48,890
Speaker 3: catch up with the swiftly moving times. Instead, they asked

522
00:37:48,930 --> 00:37:52,610
Speaker 3: him to make an adaptation of a Leonoris bestseller, a

523
00:37:52,650 --> 00:37:58,690
Speaker 3: cold war thriller called Topaz. As hitch recalled to Bogdanovich.

524
00:37:58,570 --> 00:38:02,810
Speaker 6: I was desperate for a subject and they asked me

525
00:38:03,050 --> 00:38:05,810
Speaker 6: to do it, so we took it on.

526
00:38:07,330 --> 00:38:11,650
Speaker 3: So Topaz became not us Hitchcock's second cold war thriller

527
00:38:11,690 --> 00:38:14,370
Speaker 3: in a row, but his second film in a row

528
00:38:14,450 --> 00:38:19,090
Speaker 3: that he wasn't really excited about at all. It's possible

529
00:38:19,170 --> 00:38:22,410
Speaker 3: he couldn't have been excited about shooting anything at this stage.

530
00:38:23,130 --> 00:38:26,650
Speaker 3: As he told a French reporter around this time, I

531
00:38:26,930 --> 00:38:31,250
Speaker 3: dream of an IBM machane in which I didn't search

532
00:38:31,410 --> 00:38:35,530
Speaker 3: the screenplay at one end, and the film would emerge

533
00:38:35,570 --> 00:38:42,090
Speaker 3: at the other end, completed and in color. Perhaps because

534
00:38:42,130 --> 00:38:46,370
Speaker 3: of his enthusiasm for the Antonioni movie, Hitchcock decided to

535
00:38:46,450 --> 00:38:51,330
Speaker 3: assemble a cast of international actors for Topaz. Now, he

536
00:38:51,450 --> 00:38:55,450
Speaker 3: did give a black actor, Roscoe Lee Brown, a key role.

537
00:38:56,450 --> 00:39:00,130
Speaker 3: Some viewers might have recognized co star Michelle Picoli from

538
00:39:00,210 --> 00:39:04,010
Speaker 3: contempt Or The Young Girls of Roquefort, and the presence

539
00:39:04,050 --> 00:39:09,330
Speaker 3: of Brunette Beauty Corindor, a German bond girl, turned Tops

540
00:39:09,410 --> 00:39:13,130
Speaker 3: into a Howard Hughes fave, but for the most part,

541
00:39:13,170 --> 00:39:18,810
Speaker 3: the ensemble cast lacked recognizable star power. Tobe Has screenwriter

542
00:39:18,970 --> 00:39:23,810
Speaker 3: Samuel Taylor, who had also written Vertigo, believed that quote

543
00:39:24,610 --> 00:39:27,610
Speaker 3: one of the tragedies of Tobaz was that Hitchcock was

544
00:39:27,650 --> 00:39:30,490
Speaker 3: trying to make something as if he had Ingrid Bergmann

545
00:39:30,530 --> 00:39:34,370
Speaker 3: and Carrie Grant in it. Not only did hitch not

546
00:39:34,570 --> 00:39:37,330
Speaker 3: have stars of that caliber in this film, but the

547
00:39:37,370 --> 00:39:40,290
Speaker 3: way the movie is filmed seems to draw attention to

548
00:39:40,370 --> 00:39:45,210
Speaker 3: each actor's lack of star quality, from imperfect skin to

549
00:39:45,490 --> 00:39:49,250
Speaker 3: generic mid level handsomeness that can make it difficult to

550
00:39:49,330 --> 00:39:51,650
Speaker 3: tell some of the many white men in this movie

551
00:39:51,730 --> 00:39:57,770
Speaker 3: apart whether it was the material or absence of stars

552
00:39:57,770 --> 00:40:01,170
Speaker 3: that held his attention, or age or health or alcohol,

553
00:40:01,290 --> 00:40:05,090
Speaker 3: or some combination of the above. Hitchcock seems to have

554
00:40:05,130 --> 00:40:09,850
Speaker 3: had a hard time staying awake on set. Go away

555
00:40:09,890 --> 00:40:12,530
Speaker 3: for fifteen or twenty minutes and lie down if he could,

556
00:40:13,090 --> 00:40:17,010
Speaker 3: recalled actor John Forsyth, later Charlie of Charlie's Angels.

557
00:40:17,770 --> 00:40:19,770
Speaker 5: Forsyth added, it.

558
00:40:19,770 --> 00:40:23,690
Speaker 3: Was sad to see there was one report that he

559
00:40:23,730 --> 00:40:26,810
Speaker 3: would doze off in his director's chair, and when this happened,

560
00:40:27,330 --> 00:40:30,690
Speaker 3: he made no attempt to reshoot what he had missed.

561
00:40:31,650 --> 00:40:34,250
Speaker 3: Surely he was not trying to insult the cast and

562
00:40:34,290 --> 00:40:39,050
Speaker 3: crew by dozing off. Old men doze off. But what

563
00:40:39,290 --> 00:40:42,090
Speaker 3: to make of the fact that he would sometimes leave

564
00:40:42,210 --> 00:40:46,170
Speaker 3: set during a shoot day to have lunch at Chasin's

565
00:40:46,570 --> 00:40:49,090
Speaker 3: telling anyone who suggested that he really should stay to

566
00:40:49,130 --> 00:40:49,890
Speaker 3: watch the scene.

567
00:40:50,610 --> 00:40:55,410
Speaker 6: No, the actors already, the camera men already.

568
00:40:56,050 --> 00:40:57,850
Speaker 5: If not, I'll cut it.

569
00:40:59,490 --> 00:41:05,570
Speaker 3: Watching Topaz, one wonders if anyone cut anything. The great

570
00:41:05,690 --> 00:41:10,850
Speaker 3: Hitchcock films feel meticulously constructed. Every image is there for

571
00:41:10,890 --> 00:41:15,370
Speaker 3: a reason. In his late films, particularly the very long

572
00:41:15,410 --> 00:41:18,690
Speaker 3: ones like Topaz and Family Plot, both of which are

573
00:41:18,810 --> 00:41:23,170
Speaker 3: over two hours, there is a lot of connective tissue

574
00:41:23,210 --> 00:41:27,610
Speaker 3: that feels extraneous. If you cut every shot in Topaz

575
00:41:27,930 --> 00:41:30,690
Speaker 3: of an actor parking a car getting out of the

576
00:41:30,730 --> 00:41:34,010
Speaker 3: car and walking into a building. Maybe it would be

577
00:41:34,090 --> 00:41:41,730
Speaker 3: ninety minutes. Hitchcock later characterized Topaz as a most on

578
00:41:42,210 --> 00:41:47,250
Speaker 3: happy picture to make. It was also an unhappy picture

579
00:41:47,330 --> 00:41:51,250
Speaker 3: to watch for many critics, though Manny Farber called it

580
00:41:51,530 --> 00:41:56,450
Speaker 3: pretty good entertainment, even he admitted there are a lot

581
00:41:56,570 --> 00:41:59,890
Speaker 3: of details that belong in a defunct movie drawer called

582
00:42:00,010 --> 00:42:05,570
Speaker 3: Hitchcock touches. In The New Yorker, Pauline Kale savely used

583
00:42:05,610 --> 00:42:08,490
Speaker 3: her review of Topaz as a kind of end of

584
00:42:08,530 --> 00:42:12,530
Speaker 3: the decade referendum on autourism and its tendency to celebrate

585
00:42:12,530 --> 00:42:16,570
Speaker 3: what she described as directors who go on making the

586
00:42:16,690 --> 00:42:21,250
Speaker 3: same picture in the same way year after year. In

587
00:42:21,290 --> 00:42:24,970
Speaker 3: a general sense, Kyle's attack here was sort of too much,

588
00:42:25,330 --> 00:42:28,930
Speaker 3: too late. Kaal had long been an antagonist to the

589
00:42:28,970 --> 00:42:32,250
Speaker 3: autor theory, at least as it was disseminated by what

590
00:42:32,330 --> 00:42:36,930
Speaker 3: were derisively called the Sarasites, but even the French critics

591
00:42:36,970 --> 00:42:42,610
Speaker 3: had by nineteen sixty nine largely either revised or abandoned autourism.

592
00:42:43,530 --> 00:42:48,250
Speaker 3: Four years earlier, Kaye Do Cinema's Gerard Gegin pressed his

593
00:42:48,410 --> 00:42:52,850
Speaker 3: colleagues to acknowledge that when you read the ka of

594
00:42:52,970 --> 00:42:57,210
Speaker 3: the time. Now, it's impossible not to be aware that

595
00:42:57,330 --> 00:43:01,850
Speaker 3: there are no criteria for the choices made. The politic

596
00:43:02,050 --> 00:43:06,530
Speaker 3: deserteur had become an elegant way of proclaiming that the

597
00:43:06,730 --> 00:43:11,810
Speaker 3: moon was made of green Geez. That doesn't mean that

598
00:43:11,930 --> 00:43:15,170
Speaker 3: Cale was totally wrong when she wrote that Topaz was

599
00:43:15,730 --> 00:43:19,530
Speaker 3: the same damned spy picture Hitchcock has been making since

600
00:43:19,570 --> 00:43:26,730
Speaker 3: the thirties, and it's getting longer, slower and duller. Certainly

601
00:43:26,890 --> 00:43:31,050
Speaker 3: Topaz is longer, slower and duller than any other Hitchcock

602
00:43:31,050 --> 00:43:34,690
Speaker 3: film that I've ever seen. But the idea that it

603
00:43:34,810 --> 00:43:38,170
Speaker 3: was same old, same old was the opposite of the

604
00:43:38,330 --> 00:43:43,810
Speaker 3: argument made in the equally scathing Time magazine review. At seventy,

605
00:43:44,370 --> 00:43:49,370
Speaker 3: wrote the unbylined critic, Hitchcock seems to have suddenly forgotten

606
00:43:49,450 --> 00:43:53,570
Speaker 3: his own recipe, even if he was checked out during

607
00:43:53,610 --> 00:43:57,450
Speaker 3: the shoot, hitch didn't seem fully prepared for how Topaz

608
00:43:57,490 --> 00:44:01,250
Speaker 3: would be received. He had shot a gun duel between

609
00:44:01,250 --> 00:44:05,730
Speaker 3: two characters which provoked derisive laughs at two previews before

610
00:44:05,770 --> 00:44:09,890
Speaker 3: he finally decided to scrap it. He complained Truffau that

611
00:44:09,970 --> 00:44:14,370
Speaker 3: the young American audience was too materialistic and cynical, to

612
00:44:14,450 --> 00:44:19,610
Speaker 3: get it. His French friend wasn't sure. Young Americans were

613
00:44:19,650 --> 00:44:25,210
Speaker 3: the problem. Topaz is not a good picture. Truthou acknowledged.

614
00:44:25,810 --> 00:44:29,290
Speaker 6: The studio didn't like it, and neither did the publique,

615
00:44:29,490 --> 00:44:34,650
Speaker 6: the critics, nor even the hugecockions. The director himself wanted

616
00:44:34,690 --> 00:44:38,690
Speaker 6: to forget it and an imperative need to make up

617
00:44:38,730 --> 00:44:44,330
Speaker 6: for it. In May nineteen seventy, Truffau received a letter

618
00:44:44,330 --> 00:44:47,490
Speaker 6: from Hitchcock explaining why it was so difficult to find

619
00:44:47,530 --> 00:44:51,210
Speaker 6: a project that he wanted to make that Universal would

620
00:44:51,290 --> 00:44:56,410
Speaker 6: let him make. Quote in the film industry here there

621
00:44:56,410 --> 00:45:02,290
Speaker 6: are so many taboos. We have to avoid elderly persons

622
00:45:02,410 --> 00:45:08,810
Speaker 6: and limit ourselves to youthful characters, as so must contain

623
00:45:09,290 --> 00:45:15,090
Speaker 6: some anti establishment elements. No picture can cost more than

624
00:45:15,170 --> 00:45:20,610
Speaker 6: two or three million dollars. The caution, hitch went on

625
00:45:20,690 --> 00:45:23,890
Speaker 6: to explain, had to deal with the fact that studios

626
00:45:23,930 --> 00:45:27,010
Speaker 6: like Paramount and Fox were known to be losing an

627
00:45:27,170 --> 00:45:30,850
Speaker 6: enormous amount of money on expensive productions, and even the

628
00:45:30,930 --> 00:45:35,810
Speaker 6: low budget counter programming what hitch referred to as accidental films,

629
00:45:36,370 --> 00:45:41,410
Speaker 6: were hit and miss. It is becoming obvious. Hitch wrote

630
00:45:41,890 --> 00:45:47,330
Speaker 6: that nudity in itself is not a guarantee of books

631
00:45:47,490 --> 00:45:54,290
Speaker 6: office success. Perversely, Hitchcock's next film contained more nudity than

632
00:45:54,450 --> 00:46:03,850
Speaker 6: anything he had ever done. Hitchcock had told Evan Hunter,

633
00:46:04,210 --> 00:46:07,490
Speaker 6: screenwriter of The Birds, that he had moved that film

634
00:46:07,570 --> 00:46:11,530
Speaker 6: setting to northern California, even though the Daphne du Maurier

635
00:46:11,730 --> 00:46:15,170
Speaker 6: novel was set in the UK, because Hdge didn't want

636
00:46:15,210 --> 00:46:19,250
Speaker 6: to ever make a movie in England again. But then

637
00:46:19,250 --> 00:46:23,210
Speaker 6: he came across another novel, Arthur mc burns Goodbye Piccadilly

638
00:46:23,250 --> 00:46:27,530
Speaker 6: Farewell Lester Square, a London set story about a serial

639
00:46:27,610 --> 00:46:30,330
Speaker 6: killer of women and the wrong man who was sent

640
00:46:30,370 --> 00:46:35,250
Speaker 6: to jail for the killer's crimes. Though Universal had rejected

641
00:46:35,330 --> 00:46:39,770
Speaker 6: Hitchcock's similar concept a few years earlier, now they consented

642
00:46:39,810 --> 00:46:42,210
Speaker 6: to letting him make a film out of this novel.

643
00:46:43,290 --> 00:46:45,890
Speaker 6: The fact that it would be set in London and

644
00:46:45,970 --> 00:46:48,330
Speaker 6: in a rare change of pace for Hitchcock, shot on

645
00:46:48,410 --> 00:46:53,850
Speaker 6: location there, seemed to inoculate it somewhat for the Hollywood studio.

646
00:46:53,930 --> 00:46:57,090
Speaker 6: The fact that the story tracked a murderer who punishes

647
00:46:57,130 --> 00:47:01,130
Speaker 6: women for his own impotence, according to Ackroyd, meant that

648
00:47:01,210 --> 00:47:06,730
Speaker 6: the novel might have been written for Hitchcock. Hitch called

649
00:47:06,850 --> 00:47:10,610
Speaker 6: Anthony Schaeffer, then the author of the hit play Sleuth

650
00:47:11,090 --> 00:47:15,210
Speaker 6: and soon to be the screenwriter of several Agatha Christie adaptations,

651
00:47:15,770 --> 00:47:17,650
Speaker 6: to work with him on this adaptation.

652
00:47:19,130 --> 00:47:21,850
Speaker 3: They wrote over the course of six weeks, their short

653
00:47:21,850 --> 00:47:25,530
Speaker 3: work days punctuated by lunches of steak and salad and

654
00:47:25,770 --> 00:47:31,010
Speaker 3: ending with cocktails promptly at four pm. Frenzy is Hitchcock's

655
00:47:31,010 --> 00:47:34,370
Speaker 3: first and only R rated film, and it's clear from

656
00:47:34,410 --> 00:47:38,290
Speaker 3: the first scene that something has changed. As a tour

657
00:47:38,370 --> 00:47:41,250
Speaker 3: guide is crowing about the lack of pollution in the Thames,

658
00:47:41,770 --> 00:47:45,850
Speaker 3: a female corpse floats down the river wearing just the

659
00:47:45,890 --> 00:47:49,810
Speaker 3: necktie she was strangled with. In the second scene, in

660
00:47:49,850 --> 00:47:52,730
Speaker 3: which we meet a man, Richard Blaney, wearing a tie

661
00:47:52,770 --> 00:47:55,330
Speaker 3: that looks just like the one on the corpse, we

662
00:47:55,490 --> 00:48:01,930
Speaker 3: also hear sexual slaying like tits and fingered. Later, there

663
00:48:02,010 --> 00:48:04,850
Speaker 3: is a shot of another actress's pubic hair that seems

664
00:48:05,050 --> 00:48:08,970
Speaker 3: totally gratuitous. And I haven't even mentioned the two on

665
00:48:09,290 --> 00:48:13,290
Speaker 3: screen rapes and murders. Oh, I didn't do it just

666
00:48:13,370 --> 00:48:18,850
Speaker 3: for the sake of showing nudes. Hitchcock insisted it was

667
00:48:19,050 --> 00:48:23,290
Speaker 3: necessary the rape scene as what it would be like

668
00:48:25,170 --> 00:48:28,690
Speaker 3: within the basic structure of a how catchem murder mystery.

669
00:48:29,130 --> 00:48:33,610
Speaker 3: We watch Blaney, played by Jim Fitch, behaves suspiciously but

670
00:48:33,690 --> 00:48:37,650
Speaker 3: not criminally, before learning that the real rapist killer is

671
00:48:37,690 --> 00:48:41,330
Speaker 3: his friend Bob Rusk, who presents as a dapper fruit

672
00:48:41,410 --> 00:48:47,090
Speaker 3: salesman at Covent Garden and with conspicuous charm and ostensible kindness,

673
00:48:47,690 --> 00:48:51,370
Speaker 3: earns the trust of both his victims and Blaney, who

674
00:48:51,410 --> 00:48:56,770
Speaker 3: is mistakenly arrested for Risk's crimes. Hitch referred to Rusk's

675
00:48:56,890 --> 00:49:00,850
Speaker 3: tie pin, which one of his victims dies clutching, as

676
00:49:01,010 --> 00:49:04,770
Speaker 3: the mcguffin of the movie, meaning the object which has

677
00:49:04,810 --> 00:49:08,010
Speaker 3: no importance other than to set part of the story

678
00:49:08,050 --> 00:49:13,450
Speaker 3: in motion and provide the excuse for set pieces. In Frenzy,

679
00:49:13,890 --> 00:49:18,650
Speaker 3: the tie pin does create an opportunity for two incredible sequences,

680
00:49:19,530 --> 00:49:23,090
Speaker 3: first the rape slash murder, in which actress Anna Massy

681
00:49:23,170 --> 00:49:27,050
Speaker 3: fights like hell to no avail, and then Frenzy's most

682
00:49:27,090 --> 00:49:31,290
Speaker 3: famous scene, in which Rusk, having realized that the corpse

683
00:49:31,330 --> 00:49:34,450
Speaker 3: he dumped into a potato delivery truck still has his

684
00:49:34,770 --> 00:49:39,490
Speaker 3: identifiable tie pin stuck in its fist, has to trail

685
00:49:39,570 --> 00:49:44,130
Speaker 3: the truck and ultimately dive in to save himself. The

686
00:49:44,130 --> 00:49:48,490
Speaker 3: potato sequence is the last great feat of conceptualization and

687
00:49:48,610 --> 00:49:53,450
Speaker 3: realization in Hitchcock's career. Though it runs for just about

688
00:49:53,490 --> 00:49:57,610
Speaker 3: two minutes, it required one hundred and eighteen setups to film,

689
00:49:57,970 --> 00:50:01,570
Speaker 3: and Massy, playing the corpse in the truck had to

690
00:50:01,610 --> 00:50:06,610
Speaker 3: wear a specially crafted modesty garment made out of potato slices.

691
00:50:08,410 --> 00:50:12,010
Speaker 3: The potatoes sequence contrasts nicely with a couple of scenes

692
00:50:12,050 --> 00:50:14,810
Speaker 3: set at dinner time at the house of the lead

693
00:50:14,850 --> 00:50:19,490
Speaker 3: detective investigating these murders. His wife is taking an exotic

694
00:50:19,610 --> 00:50:23,130
Speaker 3: cooking course, and Hitchcock has fun with the idea that

695
00:50:23,170 --> 00:50:26,810
Speaker 3: in a conventional marriage there is a kind of sadomasochistic

696
00:50:27,050 --> 00:50:30,690
Speaker 3: dance over dinner, which is itself a kind of sublimation

697
00:50:30,770 --> 00:50:35,290
Speaker 3: of sex. In a long monogamous relationship, many couples stop

698
00:50:35,370 --> 00:50:39,450
Speaker 3: having sex regularly, but they still have to eat, and

699
00:50:39,570 --> 00:50:42,130
Speaker 3: yet the detective, who is being served things he finds

700
00:50:42,130 --> 00:50:46,730
Speaker 3: on appetizing like quail, just longs for meat and potatoes,

701
00:50:47,570 --> 00:50:51,170
Speaker 3: itsself a kind of erotic joke, given that the evidence

702
00:50:51,210 --> 00:50:55,650
Speaker 3: of criminal kink has been hidden amongst the Russets. There's

703
00:50:55,730 --> 00:50:58,530
Speaker 3: even a shot in the potato truck sequence in which

704
00:50:58,610 --> 00:51:02,490
Speaker 3: Rusk has to wedge his head between the dead victim's

705
00:51:02,570 --> 00:51:07,050
Speaker 3: legs in order to retrieve his pin. The tie pin

706
00:51:07,210 --> 00:51:10,930
Speaker 3: may be a mcguffin, but away the entire movie is

707
00:51:10,930 --> 00:51:14,250
Speaker 3: a mcguffin in that it's an excuse for Hitchcock to

708
00:51:14,250 --> 00:51:18,810
Speaker 3: make perverse jokes about the nineteen seventies sexual climate with

709
00:51:19,250 --> 00:51:26,450
Speaker 3: several touches of food based surrealism. Talking to Bogdanovich, hitch

710
00:51:26,530 --> 00:51:30,170
Speaker 3: contextualized the decision to make the Innocent Man what he

711
00:51:30,250 --> 00:51:34,570
Speaker 3: called a loser and a non hero as a commentary

712
00:51:34,690 --> 00:51:37,010
Speaker 3: on the extinction of the kind of star he had

713
00:51:37,050 --> 00:51:40,730
Speaker 3: built his movies around in the forties and fifties. Quote,

714
00:51:41,410 --> 00:51:47,610
Speaker 3: after all, all beautiful profiles and wavy head leading men

715
00:51:47,930 --> 00:51:53,530
Speaker 3: have gone the way of all and some flesh. Hitchcock

716
00:51:53,610 --> 00:51:57,250
Speaker 3: wanted to cast Michael Kaine as the suave killer, but

717
00:51:57,410 --> 00:52:01,450
Speaker 3: Cain thought the character was quote really loathsome and I

718
00:52:01,490 --> 00:52:05,970
Speaker 3: did not want to be associated with it. Ironically, that

719
00:52:06,170 --> 00:52:09,810
Speaker 3: year he instead starred in Joseph Mankowitz's film of Sleuth

720
00:52:10,410 --> 00:52:14,650
Speaker 3: and Hitchcock, who cast cut rate Kine lookalike Barry Foster

721
00:52:15,610 --> 00:52:19,730
Speaker 3: never spoke to Kane again. Between this and the story

722
00:52:19,730 --> 00:52:22,650
Speaker 3: of hitchbreaking with herman and the making of Torn Curtain,

723
00:52:23,490 --> 00:52:26,530
Speaker 3: the director seemed to be in the not unheard of

724
00:52:26,730 --> 00:52:32,050
Speaker 3: old man phase of burning bridges. Though hitch was treated

725
00:52:32,090 --> 00:52:36,330
Speaker 3: as a conquering hero at London's Pinewood Studios, he found

726
00:52:36,410 --> 00:52:39,570
Speaker 3: making a movie away from his adopted home of Hollywood

727
00:52:39,570 --> 00:52:42,890
Speaker 3: to be drudgery. As he wrote in a letter.

728
00:52:43,490 --> 00:52:47,650
Speaker 6: Life is just a matter of going from the hotel

729
00:52:48,010 --> 00:52:52,170
Speaker 6: to the studio and back to the hotel during the week,

730
00:52:52,970 --> 00:52:57,410
Speaker 6: and weekends are spent resting as much as possible to

731
00:52:57,490 --> 00:52:59,330
Speaker 6: be ready for the week ahead.

732
00:53:00,970 --> 00:53:03,770
Speaker 3: During this period, hitch fell in his suite at the

733
00:53:03,810 --> 00:53:07,530
Speaker 3: Grand Hotel Clerages, which laid him up for a weekend.

734
00:53:08,050 --> 00:53:11,810
Speaker 3: But the bigger healthcareis came when Almah Hitchcock suffered a stroke.

735
00:53:12,810 --> 00:53:15,650
Speaker 3: She kept her spirits high, saying that if she had

736
00:53:15,650 --> 00:53:18,370
Speaker 3: to have a stroke, Claireag's was the best place in

737
00:53:18,370 --> 00:53:22,050
Speaker 3: the world to do it, But her arm was paralyzed

738
00:53:22,570 --> 00:53:26,770
Speaker 3: and her husband was deeply affected by this reminder of

739
00:53:26,850 --> 00:53:32,730
Speaker 3: Almah's mortality. Hitch continued slugging from his flask on frenzy,

740
00:53:33,090 --> 00:53:36,290
Speaker 3: and the day drinking, combined with his age, led to

741
00:53:36,530 --> 00:53:41,050
Speaker 3: more unplanned naps in the middle of filming scenes. When

742
00:53:41,090 --> 00:53:44,010
Speaker 3: he'd wake up, he'd ask the ad how the shot went,

743
00:53:44,570 --> 00:53:47,610
Speaker 3: and if the AD said all was well, Hitch would

744
00:53:47,650 --> 00:53:50,130
Speaker 3: give the order to print it and they'd move on.

745
00:53:52,770 --> 00:53:56,570
Speaker 5: Hitch was happy with Frenzy, he told Bogdanovich.

746
00:53:56,250 --> 00:54:00,890
Speaker 6: I like the extremes. It goes to funny and audible.

747
00:54:01,130 --> 00:54:06,930
Speaker 6: At the same time, the discomfiture of the villain, the

748
00:54:06,970 --> 00:54:10,850
Speaker 6: blend of the elements was dead to do, and I've

749
00:54:10,890 --> 00:54:12,890
Speaker 6: wanted to do that for a.

750
00:54:12,930 --> 00:54:16,810
Speaker 3: Long time, but he was nervous about how it would

751
00:54:16,850 --> 00:54:21,130
Speaker 3: be received. When Truffau saw him at Can, the younger

752
00:54:21,130 --> 00:54:26,130
Speaker 3: man observed that the older man appeared aged, tired, and tense,

753
00:54:26,690 --> 00:54:29,890
Speaker 3: but after the movie screened, according to Traufoe, he looked

754
00:54:29,890 --> 00:54:33,530
Speaker 3: fifteen years younger. The change was due to the fact

755
00:54:33,570 --> 00:54:37,050
Speaker 3: that Frenzy had been very positively received at Can and

756
00:54:37,210 --> 00:54:41,170
Speaker 3: this wasn't festival fever. When it opened stateside, the reviews

757
00:54:41,210 --> 00:54:45,130
Speaker 3: were also very positive. Roger Ebert gave it four stars,

758
00:54:45,570 --> 00:54:48,610
Speaker 3: calling it a return to old forms by the master

759
00:54:48,690 --> 00:54:53,090
Speaker 3: of suspense. With Frenzy, wrote Penelope Gillot and The New Yorker,

760
00:54:53,610 --> 00:54:55,730
Speaker 3: we are nearly back in the days of his great

761
00:54:55,810 --> 00:54:59,690
Speaker 3: English films, which is astonishing for a man of his age,

762
00:55:00,090 --> 00:55:04,210
Speaker 3: and after the poorness of Torn Curtain. In the New

763
00:55:04,290 --> 00:55:09,450
Speaker 3: York Times, Vincent can be called Frenzy immensely entertaining and

764
00:55:09,850 --> 00:55:14,690
Speaker 3: the best acted Hitchcock film since north By Northwest. That said,

765
00:55:15,090 --> 00:55:18,610
Speaker 3: the same paper also published an essay by Victoria Sullivan

766
00:55:19,090 --> 00:55:23,730
Speaker 3: titled does Frenzy Degrade Women, which began with the sentences

767
00:55:24,530 --> 00:55:28,050
Speaker 3: I'm tired of going to movies and seeing women get raped.

768
00:55:28,650 --> 00:55:32,850
Speaker 3: It makes me so damned angry, and went on to

769
00:55:32,890 --> 00:55:36,650
Speaker 3: take Canby to task for seeming to enjoy the sexual

770
00:55:36,730 --> 00:55:41,850
Speaker 3: violence in the film. Probably mister Canby has never been raped,

771
00:55:42,210 --> 00:55:46,770
Speaker 3: Sullivan muses, then later adds that though Women's Liberation tells

772
00:55:46,850 --> 00:55:50,010
Speaker 3: us not to emulate males, I want to see films

773
00:55:50,050 --> 00:55:51,890
Speaker 3: about men getting raped by women.

774
00:55:52,370 --> 00:55:56,490
Speaker 6: Crazy. I know Sullivan's phrasing is very of its time,

775
00:55:56,930 --> 00:55:59,850
Speaker 6: but the debate about rape on film is still ongoing

776
00:56:00,690 --> 00:56:04,610
Speaker 6: as far as Vincent Canby's taste goes. It's also worth

777
00:56:04,690 --> 00:56:07,970
Speaker 6: noting that in his review of Topaz, he called it

778
00:56:08,530 --> 00:56:13,570
Speaker 6: Alfred Hitchcock at his best. For his part, Hitchcock insisted

779
00:56:13,570 --> 00:56:17,130
Speaker 6: that he didn't personally get off on filming rapes. But

780
00:56:17,210 --> 00:56:21,210
Speaker 6: the way he articulated this defense almost betrayed the fact

781
00:56:21,290 --> 00:56:23,970
Speaker 6: that he had thought about it so much that it

782
00:56:24,050 --> 00:56:28,650
Speaker 6: no longer affected him. If I felt the same way

783
00:56:28,850 --> 00:56:33,610
Speaker 6: as the actor Barry Foster feels as a character, I'd

784
00:56:33,810 --> 00:56:38,850
Speaker 6: never get it on the screen. It's idiotic. In other words,

785
00:56:38,970 --> 00:56:42,410
Speaker 6: you get no kick out of making a thing like that,

786
00:56:43,450 --> 00:56:48,330
Speaker 6: not at all. No, it's a job to be done.

787
00:56:50,810 --> 00:56:54,050
Speaker 3: In nineteen seventy three, to write his next and last film,

788
00:56:54,130 --> 00:56:57,930
Speaker 3: an adaptation of the novel The Rainbird Pattern by Victor Canning,

789
00:56:58,450 --> 00:57:02,010
Speaker 3: hitch called Ernest Lehman, who had written North By Northwest

790
00:57:02,010 --> 00:57:05,970
Speaker 3: almost fifteen years earlier. Layman was shocked at how much

791
00:57:06,050 --> 00:57:09,290
Speaker 3: Hitchcock had changed in that decade and a half. He

792
00:57:09,330 --> 00:57:13,690
Speaker 3: had slowed down considerably. Layman recalled, he had none of

793
00:57:13,730 --> 00:57:16,410
Speaker 3: his former stamina, and I found that I had far

794
00:57:16,490 --> 00:57:19,850
Speaker 3: less inclination in the beginning of our story conferences to

795
00:57:19,890 --> 00:57:23,810
Speaker 3: do creative battle with this legendary and physically weakened man.

796
00:57:25,170 --> 00:57:27,810
Speaker 3: Layman found it hard to believe hitch would actually make

797
00:57:27,810 --> 00:57:31,210
Speaker 3: it to production on the movie he was writing. Family

798
00:57:31,250 --> 00:57:35,130
Speaker 3: plot would get made, but it would take a while. First,

799
00:57:35,250 --> 00:57:38,490
Speaker 3: Hitchcock reported to the doctor with dizzy spells and was

800
00:57:38,530 --> 00:57:40,210
Speaker 3: outfitted with a pacemaker.

801
00:57:41,050 --> 00:57:42,490
Speaker 5: Then, in April nineteen.

802
00:57:42,210 --> 00:57:46,290
Speaker 3: Seventy four, hitch was feted at a Lincoln Center benefit gala.

803
00:57:47,010 --> 00:57:50,970
Speaker 3: The guests of honor seated alongside the old man were

804
00:57:51,010 --> 00:57:54,610
Speaker 3: True Foe and Grace Kelly. Hitch capped off the tribute

805
00:57:54,650 --> 00:57:57,610
Speaker 3: by telling the assorted masses, many of whom had paid

806
00:57:57,650 --> 00:58:01,210
Speaker 3: one thousand dollars a seat, they say that.

807
00:58:01,370 --> 00:58:07,450
Speaker 6: When a man drowns, his entire life passes before his eyes.

808
00:58:08,610 --> 00:58:15,170
Speaker 6: I've had that experience tonight without even getting my feet wet.

809
00:58:16,530 --> 00:58:19,890
Speaker 3: So it was not until early nineteen seventy five that

810
00:58:20,090 --> 00:58:22,530
Speaker 3: hitch turned to the problem of finding a cast for

811
00:58:22,650 --> 00:58:27,890
Speaker 3: family plot. He rejected the studio's suggestions, which were Eliza

812
00:58:27,970 --> 00:58:31,930
Speaker 3: Minelli and Jack Nicholson a missed opportunity if I've ever

813
00:58:32,010 --> 00:58:36,450
Speaker 3: heard one. Instead, Hitchcock managed to get Universal to agree

814
00:58:36,490 --> 00:58:40,690
Speaker 3: to cast Bruce Dern and Barbara Harris, who appeared that

815
00:58:40,730 --> 00:58:44,490
Speaker 3: same year in Nashville and the following year swapping bodies

816
00:58:44,530 --> 00:58:49,410
Speaker 3: with Jodie Foster in the original Freaky Friday. Duran's initial

817
00:58:49,410 --> 00:58:53,170
Speaker 3: impression of hitch hayes Bard with the whole fucking thing

818
00:58:54,210 --> 00:58:56,650
Speaker 3: when Durren once asked if he could do another take

819
00:58:56,730 --> 00:58:57,890
Speaker 3: so he could go deeper.

820
00:58:58,410 --> 00:59:03,090
Speaker 5: Hitchcock responded, Bru, they'll never know.

821
00:59:03,250 --> 00:59:08,010
Speaker 3: In belore Via, family plot is fun and would be

822
00:59:08,130 --> 00:59:11,690
Speaker 3: almost lighthearted, except that at times a sense of humor

823
00:59:11,770 --> 00:59:15,770
Speaker 3: is nearly as nasty as anything. In Frenzy, both William

824
00:59:15,810 --> 00:59:20,370
Speaker 3: Devane's criminal jeweler and Deren's slippery cab driver slash amateur

825
00:59:20,410 --> 00:59:25,530
Speaker 3: detective call their female partners bitch to their faces. Despite

826
00:59:25,530 --> 00:59:28,850
Speaker 3: the vulgarity. For the most part, family plot feels like

827
00:59:28,930 --> 00:59:32,450
Speaker 3: a two plus hour version of the early sequences in

828
00:59:32,490 --> 00:59:36,890
Speaker 3: an episode of Colombo or Moonlighting before the detective heroes

829
00:59:37,010 --> 00:59:41,290
Speaker 3: show up. For what it's worth, Colombo pre dates Family

830
00:59:41,290 --> 00:59:47,570
Speaker 3: Plot by five years. Trufau suggested that any positive reviews

831
00:59:47,610 --> 00:59:52,850
Speaker 3: were offered in fear of propagating unnecessary elder abuse. American

832
00:59:52,930 --> 00:59:56,210
Speaker 3: journalists interviewing hitch about the movie, he wrote.

833
00:59:56,650 --> 01:00:01,450
Speaker 6: Many fistied finchep and respect, not because they liked Tias

834
01:00:01,450 --> 01:00:04,650
Speaker 6: fifty third film, but because I ductor, who is over

835
01:00:04,810 --> 01:00:08,970
Speaker 6: seventy years old, instead working enjoys with the mindb defe

836
01:00:09,090 --> 01:00:11,090
Speaker 6: AND's critical immunity.

837
01:00:12,490 --> 01:00:15,970
Speaker 3: Hitchcock had been too fatigued to oversee most of post production.

838
01:00:16,810 --> 01:00:21,930
Speaker 3: Soon thereafter, Alma suffered another stroke, and this time she

839
01:00:22,090 --> 01:00:27,730
Speaker 3: was unable to bounce back, requiring full time care. Nurses

840
01:00:27,770 --> 01:00:30,810
Speaker 3: were brought in to help, and Hitch himself cooked dinner

841
01:00:30,850 --> 01:00:33,450
Speaker 3: a few times a week. They could no longer go

842
01:00:33,530 --> 01:00:38,770
Speaker 3: out to Chasen's, but gratefully the former hot spot offered takeout.

843
01:00:39,930 --> 01:00:42,330
Speaker 3: Hitch still went to his office on the Universal lot

844
01:00:42,450 --> 01:00:45,890
Speaker 3: every weekday, still had steak at lunch and a vodka

845
01:00:45,930 --> 01:00:49,730
Speaker 3: drink at four before heading home to bel Air. But

846
01:00:49,810 --> 01:00:54,570
Speaker 3: as Almah slipped away, he was unbearably lonely. He didn't

847
01:00:54,570 --> 01:00:58,250
Speaker 3: really have other friends, not anyone who he was as

848
01:00:58,250 --> 01:01:01,010
Speaker 3: close to as he was to his wife, his collaborator

849
01:01:01,570 --> 01:01:06,970
Speaker 3: and constant companion of fifty years. Hitch once told Bogdanovich

850
01:01:06,970 --> 01:01:10,610
Speaker 3: that he never talked to other directors except for maybe

851
01:01:10,690 --> 01:01:13,410
Speaker 3: murphyn Leroy when they ran into each other at the racetrack.

852
01:01:14,090 --> 01:01:17,530
Speaker 3: When Bogdanovitch reminded him that he had said this, Hitch replied,

853
01:01:18,290 --> 01:01:20,050
Speaker 3: that's pretty well true.

854
01:01:20,730 --> 01:01:29,810
Speaker 6: Yes, I'm Alona, Ohays, Husban Even and Angrient. He started

855
01:01:29,810 --> 01:01:33,330
Speaker 6: working on making another movie and brought in writers to

856
01:01:33,410 --> 01:01:37,650
Speaker 6: adapt a spy novel called The Short Night. Truffau recalled

857
01:01:37,650 --> 01:01:40,370
Speaker 6: that hitch was talking about shooting on location in Finland,

858
01:01:41,130 --> 01:01:43,330
Speaker 6: but no one believed he would leave Almah at home

859
01:01:43,370 --> 01:01:47,210
Speaker 6: alone in her condition. Ernest Layman walked away when he

860
01:01:47,250 --> 01:01:51,450
Speaker 6: couldn't talk Hitch out of including a brutal rape. Layman

861
01:01:51,570 --> 01:01:53,730
Speaker 6: hadn't had faith that hitch would be up to making

862
01:01:53,770 --> 01:01:57,250
Speaker 6: family plot, and he had been wrong. But now it

863
01:01:57,330 --> 01:02:01,210
Speaker 6: seemed obvious that The Short Night was just a fantasy.

864
01:02:02,210 --> 01:02:05,770
Speaker 6: After Layman, Norman Lloyd was brought in, but at one

865
01:02:05,810 --> 01:02:09,650
Speaker 6: point hitch said to him, when not ever going to

866
01:02:09,770 --> 01:02:14,090
Speaker 6: make this picture because it's not necessary.

867
01:02:15,690 --> 01:02:18,530
Speaker 3: In nineteen seventy nine, at the age of seventy nine,

868
01:02:19,010 --> 01:02:22,850
Speaker 3: Hitchcock was given the Air five Lifetime Achievement Award. He

869
01:02:22,970 --> 01:02:27,370
Speaker 3: sat sullenly through the ceremony, seated between Alma and Carrie Grant.

870
01:02:28,010 --> 01:02:29,930
Speaker 3: He gave his speech from the table.

871
01:02:30,330 --> 01:02:36,330
Speaker 4: Adag commission to mention by name only four people who

872
01:02:36,330 --> 01:02:42,970
Speaker 4: have given me the most affection, appreciation and encouragement and

873
01:02:43,170 --> 01:02:49,130
Speaker 4: constant collaboration. The first of the four is a film editor,

874
01:02:49,810 --> 01:02:54,730
Speaker 4: the second is a scriptwriter, the third is the mother

875
01:02:55,330 --> 01:03:00,050
Speaker 4: of my daughter Pat and the fourth is as fine

876
01:03:00,050 --> 01:03:05,370
Speaker 4: a cook as ever performed miracles in a domestic kitchen,

877
01:03:06,050 --> 01:03:09,370
Speaker 4: and their name are Alma Reva.

878
01:03:13,330 --> 01:03:17,530
Speaker 6: Truth O recalled that the evening left me and everyone

879
01:03:17,570 --> 01:03:21,930
Speaker 6: who attended it to the gloomy and gruesome memory, even

880
01:03:21,970 --> 01:03:25,410
Speaker 6: though Cbas, through a series of editing twigs, managed to

881
01:03:25,410 --> 01:03:29,090
Speaker 6: offer a face saving version of the ceremony on American television.

882
01:03:29,810 --> 01:03:34,610
Speaker 6: Alfred and almer Chkock appeared to be present, but the

883
01:03:34,810 --> 01:03:39,490
Speaker 6: soils were missing. They were ondly more alive than Anthony

884
01:03:39,530 --> 01:03:43,370
Speaker 6: Perkins stuffed mother in the Cellar of the Gothic Girls.

885
01:03:45,490 --> 01:03:50,370
Speaker 3: Just over a year later, Alfred Hitchcock was dead. Alma

886
01:03:50,490 --> 01:03:55,770
Speaker 3: died two years later. Next week we will discuss the

887
01:03:55,890 --> 01:04:00,010
Speaker 3: last phase of one of the most notoriously tyrannical directors

888
01:04:00,170 --> 01:04:13,690
Speaker 3: in Hollywood history. Join us, then, won't you? Thanks for

889
01:04:13,770 --> 01:04:18,090
Speaker 3: listening to You must remember this. The show is written, produced,

890
01:04:18,370 --> 01:04:21,770
Speaker 3: and narrated by Corina Longworth.

891
01:04:22,530 --> 01:04:28,330
Speaker 5: That's Me. This season is edited and mixed by Evan Viola.

892
01:04:29,410 --> 01:04:33,450
Speaker 3: Our social media research and production assistant is Brendan Whalen,

893
01:04:34,530 --> 01:04:38,890
Speaker 3: and our logo was designed by Teddy Blinks. If you

894
01:04:39,050 --> 01:04:43,130
Speaker 3: like the show, please tell anyone you can any way

895
01:04:43,170 --> 01:04:46,330
Speaker 3: that you can. You can follow us on Twitter at

896
01:04:46,490 --> 01:04:50,650
Speaker 3: Remember This Pod, and we're on Facebook and Instagram too,

897
01:04:51,930 --> 01:04:55,250
Speaker 3: And if you go to our website you Must Remember

898
01:04:55,490 --> 01:05:00,090
Speaker 3: This Podcast dot com, you can find show notes for

899
01:05:00,170 --> 01:05:04,290
Speaker 3: this and every other episode, which include lists of our

900
01:05:04,330 --> 01:05:08,570
Speaker 3: sources and much more. At the website, you can also

901
01:05:08,650 --> 01:05:13,490
Speaker 3: find more like hats, t shirts, and our special limited

902
01:05:13,650 --> 01:05:21,170
Speaker 3: edition Dead Blonde coloring book. At patreon dot com slash

903
01:05:21,330 --> 01:05:25,810
Speaker 3: Karina Longworth. You can support the podcast get lots of

904
01:05:25,850 --> 01:05:30,130
Speaker 3: bonus you Must Remember This content, including scripts or transcripts

905
01:05:30,170 --> 01:05:34,090
Speaker 3: of our full archive and some glimpses into.

906
01:05:33,850 --> 01:05:35,290
Speaker 5: Other aspects of my life.

907
01:05:36,250 --> 01:05:39,330
Speaker 3: Proceeds from Patreon go to help pay all the people

908
01:05:39,410 --> 01:05:44,490
Speaker 3: who work on the show named above. Finally, subscribing or

909
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Speaker 3: rating and reviewing the show on Apple Podcasts can really

910
01:05:48,770 --> 01:05:51,450
Speaker 3: help other people find it, So if you want to

911
01:05:51,490 --> 01:05:54,090
Speaker 3: spread the word, that's a great way to do it.

912
01:05:55,130 --> 01:05:58,450
Speaker 3: We'll be back next week with an all new tale

913
01:05:58,490 --> 01:06:04,050
Speaker 3: from the secret and or forgotten histories of Hollywood's first century.

914
01:06:05,090 --> 01:06:08,330
Speaker 3: Join us, then, won't you? Good Night?

915
01:06:14,810 --> 01:06:18,210
Speaker 1: That was You must remember this If you enjoyed the episode,

916
01:06:18,250 --> 01:06:21,250
Speaker 1: you can find the show wherever you get your podcasts.