As WWII approaches in Europe, a
young American reporter on his first assignment overseas tries to expose enemy
spies in London.
Director Alfred
Hitchcock made Foreign Correspondent between Rebecca
and Suspicion.
It was his second American film – he was loaned out by David O. Selznick to Walter Wanger to make the film. He
worked with his frequent early-career writing partner Charles Bennett,
as well as composer Alfred Newman
(a nine time Oscar winner), cinematographer Rudolph Mate
(who also shot one of the most brilliant films of all-time: The Passion of Joan
of Arc), and art director Alexander Golitzen
– an impressive group.
The film stars Joel McCrea
and Laraine
Day, and features Herbert Marshall,
George Sanders,
and Albert
Bassermann in support.
Foreign Correspondent is an
interesting film for multiple reasons. Chiefly, it is a propaganda film (even
more so than The
Lady Vanishes, which can be read as a propaganda film to some extent as
well, especially the end sequence), clearly aimed at winning over American audiences,
rallying them to the support of England and their struggle against the Nazis.
And yet, Hitchcock was not allowed to reference the villains as Germans or have
them speak German by the Production Code, even though it is clear that they are
Germans. The film is very effective, with Joel McCrea’s rousing call to arms at
the end hitting all the right notes (although, today one might argue that it is
a bit heavy handed – but in the context of the time, America really did need to
be awoken from its stupor). Even though this is a propaganda film, Hitchcock
does not let that stop him from making something that is aesthetically and
artistically quite compelling. The plane crash scene is incredibly inventive
for example. It is a must for Hitchcock fans (a few other deep cuts worth
seeing include: The 39 Steps,
The Lady Vanishes, Suspicion, Shadow of a
Doubt, The
Trouble with Harry, Marnie,
Torn
Curtain, and especially Frenzy).
Trailer: Here
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