As a seasoned cinephile with a penchant for the macabre and a soft spot for the masters of suspense, I am beyond excited about the upcoming documentary “Becoming Hitchcock – The Legacy of Blackmail”. Having spent countless hours delving into the intricacies of Hitch’s oeuvre, I can’t help but feel like I’ve stumbled upon a hidden treasure trove.
European powerhouse Studiocanal has shared the first sneak peek and poster for its upcoming documentary titled “Becoming Hitchcock – The Legacy of Blackmail,” directed by Los Angeles-based filmmaker Laurent Buzereau (“Faye”, “Five Came Back”, “Music by John Williams”).
The documentary is set to make its first appearance at the prestigious Lumière Classic Film Festival, taking place in Lyon, France, on October 18th.
The movie, relying solely on archival resources, delves into Alfred Hitchcock’s distinctive style by showcasing the production process of his groundbreaking film, “Blackmail,” which premiered in 1929 as the era of talkies began.
Frequently known as the inaugural British film with sound effects, this movie is also available in its silent variant. Certain scenes were re-filmed for the sound-equipped version.
Through contrasting the two works, Buzereau offers an original approach to delving into Hitchcock’s recurring motifs, including murder, tension, cuisine, and sensuality. This exploration provides a hint of the greatness that would be showcased in future masterworks like “Psycho,” “North by Northwest,” and “The Birds,” which were released three decades later.
As a fellow enthusiast, I feel compelled to highlight the significance of the historical context in Hitchcock’s work, while also acknowledging him as a true auteur, much like we appreciate Picasso’s Blue Period. Just as painters have distinctive periods, filmmakers of Hitchcock’s stature have their own unique themes that they revisit throughout their careers, but with different visual styles each time. I shared this perspective during my conversation with EbMaster.
For instance, the director refers to Hitchcock’s frequent focus on food, which he terms as “Hitchcock’s food fixation.” He recounts a scene from the film “Blackmail” where the lead character Alice, known for her striking blondeness (a characteristic Hitchcock was early drawn to), uses a carving knife she seizes from the assailant’s bed to commit a murder.
Buzereau notes, grinning, that the knife sits near his bed on a table, along with a loaf of bread – an intentional choice, he suggests, given how unusual it is for someone to have bread by their bed. This motif of food, often connected to themes of seduction, sex, or murder, can be found recurring throughout Hitchcock’s films.
Buzereau finds it intriguing as the method is so understandable and universal – after all, everyone eats. This instant connection makes it captivating. He notes that it’s cunningly twisted yet clever, often visually striking. Buzereau also highlights that Hitchcock began his filmmaking career in the silent era, which means he relied heavily on visual storytelling to convey his narratives.
Before ‘Blackmail’, he was sparing with the use of intertitles,” he clarifies. “When sound arrived, he skillfully utilized it,” he adds, discussing a well-known scene depicted in the documentary, which contrasts the silent and sound versions.
The day following a tragic incident, I’m sitting down for breakfast with my loved ones, when our next-door neighbor unexpectedly drops by and begins discussing a recent homicide. As my father requests me to slice a piece of bread, my agitation grows steadily until I eventually lose my grip on the knife.
In the audio version, the neighbor’s conversation becomes muffled except for the word “knife,” which grows increasingly loud, intensifying Alice’s distress until she accidentally drops her knife. In the silent film, the audience watches as Alice’s hand casts a shadow over the loaf of bread while she picks up the knife, creating an uneasy feeling.
The film’s documentary points out that Alfred Hitchcock encountered a distinctive hurdle while working with the main actress, Anny Ondra, during the sound recording of “Blackmail”. Her strong Czech accent, not ideal for her character, posed a challenge.
During the era when real-time dubbing during post-production wasn’t possible, Hitchcock resorted to using actress Joan Barry. Her role was to deliver Ondra’s dialogues simultaneously on set as Ondra acted out her scenes. Barry stood off-camera, synchronizing her lines with the action, offering a creative workaround in the early sound film era.
“Unveiling Hitchcock
Bouzerau’s upcoming documentary, titled “Music by John Williams,” will make its world debut as the opening film at the AFI Fest on October 23. This documentary delves into the significant impact that legendary film composer John Williams had on some of Hollywood’s most iconic movies. Meanwhile, the director is completing work on a feature documentary about the “Jaws” phenomenon, set to be released before the film turns 50 in 2025.
The Lumière Film Festival runs in Lyon over Oct.12-20.
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2024-10-12 20:47