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An old friend is never an extra guest…

I'll try and keep this one a bit shorter as I've been trying to catch up a bit on the film front and have watched two very close together this week. I probably do myself a disservice by waffling on for 2 or 3 paragraphs before actually making any valuable comments on the films but it's a formula that I like and like's what I does.

I learnt this week that Hitchcock's father died when he was only 15 (His father, not Alfred of course… why am I even clarifying that? Word count Andy, word count!) which is sad. I don't know what to make of it really. I don't know enough yet to comment or formulate an opinion on how that may or may not have had an effect on his film-making career… maybe in a few months I will… or perhaps I'll make some unfounded declaration about throwing himself into the imaginary world of film to avoid the pain of the real world… nah… I won't say that.

Talking about getting your facts right before opening your stupid mouth (or typing with your stupid fingers) I came across a comment online this week written by some person who I won't name (I didn't make an effort to remember to be honest) that said "LOL Hitchcock died a virgin Lol". Now I won't attack the grammar, as I will admit that my use of ellipses and exclamation marks has always been somewhat questionable, but who even writes a thing like that? I simply replied "LOL Patricia Hitchcock Lol" 

I got your back Alfred. Don't you worry!


Damn, I waffled! I'll try and keep this bit shorter, I promise…

Well yet again another enjoyable film from Hitchcock. Cary Grant features again as his slightly younger self, pre Grace Kelly, with the formidable Ingrid Bergman, a la Delvin and Alicia.

What I liked most about this film was the way a romance was constructed between both of these characters without either one having to change their hard exterior. They were both serious people, perhaps both dealt a bad hand of cards for various reasons. In some ways they came across as cold and scrutinising, but they still managed to be in love with one another and respect one another without getting unnecessarily woozy.

Delvin very much accepts Alicia for who she is and encourages her to be her own person without seeking permission from himself to embark on this dangerous mission. It's painful to watch though, two people in love but jeopardising what they have with one another to go undercover in Alexander's (the suspected Nazi) inner-circle of trusted companions.

Love may not be making anyone go weak at the knees here but poison certainly is and it is the escape from that poison that becomes the end focal point of the film. There is no real fight or final chase. In a stark contrast to the mania that ensued at the end of Strangers On A Train (recently watched but actually released a few years later) just the ability and circumstance to escape a slow and quiet death is all Alicia really needs in the end.

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