The Master of Romance

Most casual filmgoers think of Hitchcock as merely the “Master of Suspense.” More sophisticated cinephiles view him as the elegant formalist of such films such as “Lifeboat,” in which the action is confined to the title vessel filled with a cross-section of World War II types; “Rope” (January 4), filmed in what appears to be one uninterrupted take that lasts 81 minutes; and “Rear Window” (Friday-Monday), which followed an entire murder mystery through the perspective of a man confined in a wheelchair.But while his stylistic experiments inspired generations of directors, Hitchcock might also have been one of the great romantics in the history of Hollywood.The Essential Hitchcock series, which opens tonight and runs through January 12 at Film Forum, is the perfect opportunity to decide for yourself.The series, which highlights the best work of one of the greatest filmmakers of the last century – 36 films in 35 days, all of them shown in 35 mm prints – begins on Friday with 1954’s “Rear Window.” Most people view the film as only a simple if elegant exercise in voyeurism: The story of a guy (L. B. Jeffries played by James Stewart) who believes that a man living across the courtyard has committed a grisly murder. But it’s also about a man who doesn’t want to commit and whose girlfriend (played by the ravishing Grace Kelly) is desperate to get him to marry her.The very first shot of Kelly’s character, Lisa Fremont, happens while Stewart sits in his wheelchair, asleep. A shadow slowly crosses his face and then we see Kelly coming at him (at us – she’s looking straight into Hitchcock’s camera) as she gives him a gentle, sensual, slow-motion kiss. Few contemporary directors, even with the epidermal liberties permitted today, could match that shot for sheer sensuality.Another memorable screen kiss occurs in “Notorious” (December 29). Ingrid Bergman makes an unconvincing party girl in the first part of the picture, but when it comes to suffering the pains and raptures of love, she’s incomparable. In a famous shot, Bergman and Cary Grant kiss while they talk about business, about dinner, and while he calls his hotel to see if he has any messages – and all the time they can’t keep their hands (or their lips) off each other.This one shot runs for two and a half minutes of mutual mastication without a cut, and it might be one of the most erotic shots allowed out of Hollywood during the period of the Production Code.It’s undeniable, however, that as his career progressed, Hitchcock’s romanticism curdled into something more sinister. His late-in-life obsession with actress Tippi Hedren is on full display in “The Birds” (January 1-2) and “Marnie” (January 5). In “The Birds” in particular, you’ll notice right away the oleaginous soft focus that characterizes nearly all of Ms. Hedren’s close-ups.Other films I’m looking forward to include the rarely seen 1926 silent film “The Lodger” (Monday) – the finest German Expressionist film ever to come out of a British studio – and “Blackmail,” which Hitchcock was obliged to film twice – once as a silent film, and then again as the first British talkie.”Vertigo” (January 6-7) is his most profound exploration of love and obsession, with a score that sounds suspiciously as if Bernard Herrmann has channeled Richard Wagner,”Parsifal” in particular.There are some legitimate quibbles to be made with Film Forum’s selections – minor though it is, I would have liked to see “The Paradine Case” again on a big screen as opposed to, say,”Torn Curtain” (January 3) – and even more to be made about how the films are being shown. It would have been nice, for example, to see both the sound and silent versions of “Blackmail” (Monday & January 12, respectively) on the same bill.The same could be said for the original and remake of “The Man Who Knew Too Much” (December 22 & 25-26, respectively). Why not give us the chance to contrast and compare? And why only one measly screening of the silent “Blackmail”?Still, with Film Forum continuing the well-loved (and almost vanished) tradition of weekday double features, and with such a bounty of classics to choose from, such complaints can seem churlish. In an age when it’s becoming more and more difficult to see great films in 35 mm on a big screen, checking out this series of Hitchcock classics at Film Forum could be the best Christmas present you give yourself.

The Master of Romance

The Master of Romance

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