Archive for Letter from an Unknown Woman
Hayward is wayward, but never fear, Robert is Cummings! The self-confessed Butcher of Strasbourg joins the flame-haired siren over at The Daily Notebook in this week’s edition of The Forgotten. Which is nothing if not apt — a Forgotten about THE LOST MOMENT.
Ophuls said that the Hollywood composer is like the man who dispenses cheese in an Italian restaurant. You say “Thank you, that’s enough,” he goes away, and then a minute later you catch him spooning more on. “You have to watch him.”
He was talking specifically of Daniele Amfitheatrof, who nevertheless did a stunning job on LETTER FROM AN UNKNOWN WOMAN, and again here. You never hear the Greek mentioned along with his American and Hungarian colleagues. Seems to me he may be deserving of more consideration.
I wonder if the celebrated scene in the funfair train ride of LETTER FROM AN UNKNOWN WOMAN was influenced, in its dialogue, by REBECCA, the first film where Joan made a major impression upon the public (apart from their rude dismissal of her dancing in DAMSEL IN DISTRESS). In both scenes she discusses her father. In LETTER it’s the speech about how he used to take the family on exotic holidays — imaginary ones, reciting from the travel brochures he’d take home from work. A speech about imaginary journeys, delivered in a fake train carriage.
In REBECCA the father is an unsuccessful artist who always painted the same tree. Maxim de Winter, still faithful to the memory of his dead wife, can relate to this tendency to stick with one thing. The fact that Joan is attracted to the older man who admits to sharing this trait with her recently deceased father suggests that in a way she’s looking for a replacement dad. (Some awkward dialogue about this can be heard in the screen tests included in the Criterion DVD of REBECCA — I’m glad the clunky lines were cut, but they do suggest the Elektra complex was on somebody’s mind).
Joan’s hilariously bad drawing is used as shorthand for her gaucherie and ordinariness.
The conversation in REBECCA takes place over a plate of eggs — a dish Hitchcock loathed. Perhaps his way of prefiguring the troubles ahead.
Many of Hitchcock’s characters draw, and use the skill in mating rituals. BLACKMAIL offers a vivid example, in the picture painted by Anny Ondra — a crude smiley face, to which randy artist Cyril Ritchard appends a slinky torso. In RICH AND STRANGE, Joan Barry sketches a stick figure companion into Percy Marmont’s photograph, suggesting his need of a wife. Later, she will imagine herself in the place of that outline.
THE TROUBLE WITH HARRY will give us a professional painter as hero, and it’s worth remembering Hitchcock’s origins as a graphic artist. His own most famous illustration is his signature outline ~