The Hunt for Hitchcock’s Lost Classic: Can the BFI Uncover the Holy Grail of Film?

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Prior to Alfred Hitchcock achieving fame as the creator of iconic films such as “Psycho” and “Dial M for Murder,” he launched his filmmaking journey in the United Kingdom.

However, long before he became famous for 1930s British movies such as “The 39 Steps,” this individual was already active in the world of silent cinema. Both Ben Roberts, the CEO of the British Film Institute, and Arike Oke, the director of knowledge, learning, and collections, believe that it’s essential to remember his silent films from the years 1925 to 1929, as they hold significant value.

In his conversation with EbMaster, Oke points out that certain aspects from those films can be traced in his later renowned works. He also notes that the filmmaker began to explore diverse shot styles and narrative techniques, incorporating elements of mystery, murder, and melodrama.

Alfred Hitchcock’s first directorial venture, titled “The Pleasure Gardener” (1925), was one of the nine silent films by Hitchcock that survived. In 2012, the British Film Institute undertook a significant restoration project on these films. Besides “The Pleasure Gardener,” other early Hitchcock works include “The Lodger” from 1927, which centered around a murderer similar to Jack the Ripper, and “Champagne” from 1928, notable for its innovative opening scene that travels through a champagne glass and into a building.

Nonetheless, one movie from 1926 remains elusive: “The Mountain Eagle,” a production that would have been Alfred Hitchcock’s second film. The sole existing image is not a still from the movie itself, but rather a photograph taken on set during its filming. To Oke, this picture holds an additional sense of poignancy due to its context.

The British Film Institute maintains a list similar to the FBI’s Most Wanted, with “The Mountain Eagle” being the globally renowned lost film print that is most frequently sought after. During this year’s TCM Classic Film Festival, when Roberts moderated a panel featuring Guillermo del Toro, the director of “The Shape of Water,” they acknowledged “The Mountain Eagle” and hinted at Portugal and Spain as potential places to search for it.

Roberts acknowledges that the situation may have escalated beyond our current investigative abilities. For the time being, it appears to be misplaced, but there’s always a chance it could reappear again.

As a movie enthusiast, I’ve come across numerous instances where films get misplaced and eventually recovered. For instance, in 2015, the British Film Institute (BFI) miraculously unearthed a long-lost print of the 1928 Disney cartoon “Sleigh Bells” starring Oswald the Lucky Rabbit. Interestingly, this film was already catalogued by the BFI, but they didn’t realize its significance to Disney – it was thought to be missing in their archives.

We have many movies from Disney, Warner Bros., and MGM, but we might not be aware of titles they don’t possess. This is quite amusing because finding these hidden gems often comes down to luck, or serendipity, as Oke puts it. Perhaps this will also apply to ‘The Mountain Eagle,’ eventually. It could be that someone has listed it under a different name, or the owners might not even realize they possess it.

With BFI’s extensive national archive housing millions of films and TV programs, the process of archiving requires a significant amount of research. This includes gathering all the original footage, both negative and positive, working closely with organizations such as the Film Foundation, and repairing, restoring, and digitizing the content for preservation.

According to Roberts, the latest Hitchcock restoration initiative underscores BFI’s ongoing dedication. He notes, “Restored projects are not merely left on a shelf; they’re resurrected for viewers, allowing them to appreciate the origin of the term ‘Hitchcockian.’

During his TCM Festival conversation with Roberts, Del Toro highlighted the value of examining the early works of accomplished filmmakers, such as Hitchcock. “In my opinion,” he stated, “the majority of the tools Hitchcock utilized throughout his career were honed during his English phase. Each and every one of them.” He referenced Hitchcock’s use of “English literature” techniques in horror and crime genres, as well as his fascination with German expressionism.

To successfully restore old projects dating back over a century, it’s crucial to locate references specific to that era, such as typical film speeds and frame rates. This can be difficult because many silent films lack original records, like runtimes, which makes the task more complex. Additionally, surviving prints may not include features like tinting and toning, early color processes, forcing the British Film Institute (BFI) to search globally for similar examples.

According to Oke, we’re not aiming to produce fresh content or revise Hitchcock’s work. Instead, our goal is to recreate the original viewing atmosphere for the audience by restoring the work as it was intended.

This year’s BFI Film on Film Festival intends to offer audiences a nostalgic viewing experience by screening an original Technicolor print of the opening film, “Star Wars,” on June 12. While such prints were common in 1977, they have now become extremely valuable, as stated by Oke. At the TCM Festival, BFI previously showcased a rare nitrate print of “Mildred Pierce” and recently minted 35mm prints of “To Be or Not To Be” and “The Private Life of Henry VIII.”

At this year’s BFI Film on Film Festival, the organizers are planning to recreate a classic cinema experience by exhibiting an original Technicolor print of “Star Wars” at its premiere on June 12. Although these prints were plentiful in 1977, they have since become incredibly valuable, as noted by Oke. At the TCM Festival, BFI previously displayed a scarcely seen nitrate print of “Mildred Pierce” and freshly produced 35mm prints of “To Be or Not To Be” and “The Private Life of Henry VIII.”

In an age dominated by digital media, where the preservation and history of films are often overlooked and under-resourced, Roberts consistently emphasizes the numerous links between classic and modern cinema. Notably, Tom Cruise himself recently underscored this connection when he accepted a BFI fellowship prior to the launch of “Mission: Impossible — The Final Reckoning.

Roberts mentions that he frequently discussed his acting skills originating from early silent movies, which had a profound influence on him and inspired him to become the film actor he is today. This underscores the significance of making films spanning over a century available.

Moving forward with the Film on Film festival preparations, the British Film Institute (BFI) also expands its archival endeavors beyond traditional cinema. One of their forward-looking projects, Screen Heritage, concentrates on gathering digital-native content, such as moving images and audio-visual formats.

According to Oke, we collaborate with Netflix and Amazon Prime Video to safeguard a collection of their U.K. TV shows. If we didn’t do this, he believes that our film culture may not endure when looking back at 2025, even in as little as 50 years. We are archiving during an era of extreme abundance.

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2025-05-23 23:17