Louis Jourdan, The Paradine Case |
Lee Garmes was the greatest photographer of close-ups
in the history of the movies and here are two of the most gloriously beautiful
faces from The Paradine Case (1947),
in the process of their own self destruction, dragging Gregory Peck, a third
very beautiful face down with them. The whole meaning of the movie increasingly
seems to me to belong in the close-ups. Indeed, the central act of the film is
20 minutes within nearly two hours of useless non-expository talk, little
action and you can hear Hitchcock tapping the camera waiting for something
interesting to do.
The movie often lurches with the brakes on during
narrative sections. But it then becomes transfixing in its meditative and
confrontational sequences, largely shot in Close. It's like two movies at war
with each other, one personal and "abstract", the other, literal and
wide. The camera movements Hitch stages around Valli are also some of the most
lyrical and expressive in his career. They look forward to the ten minute takes
of Rope (1948) and the serpentine
cranes and dolleys he got Cardiff to execute for the totally wonderful Under Capricorn (1949) and I think The Paradine Case needs to be seen as
one of that trio of late forties, high mise-en-scene
based works.
Alida Valli, The Paradine Case |
Whether or not you think similarly the new Blu-ray
from Kino Lorber is one of the first Selznick 40s titles out of the MGM library
to be released on Kino Lorber and has always presented as a
"problematic" Hitchcock. A big part of the problem is the whole British
class malarkey thing upon which Hitch himself overly relies for the setting,
and all its idiotic balderdash, especially with Charlie Coburn as Senior Counsel,
"Sir Simon". Hitch takes the malarkey over the top of absurdity in
the first sequence he shares with Alida Valli in which she repeatedly addresses
him with the honorific. "Yes, Sir Simon, No Sir Simon... I think so Sir
Simon. " The one interesting aspect of this class nonsense is the way the
men from the higher orders fetishize a sexually active woman like
"Maddelena Anna Paradine" and her Neapolitan past. Even on the bonus
material during audio grabs Hitch keeps referring to her as "the
nymphomaniac."
Nympho or not I was pleasantly surprised to see
how much more I liked Peck this time around. I think Hitch is all wrong about
him, and certainly about Jourdan whose own performance is without blemish, and
a very fine one indeed. Maybe Louis and Peck don't fit Hitch’s
relatively comic book stereotypes for the Chatterley-esque project he had in
mind. In any case Hitch does reign in some if not all of the usual Selznickian
excess and the longueurs and slabs of totally redundant diversions the producer
interposed into everything he touched. And often ruined.
Gregory Peck, The Paradine Case |
One outstanding impression from this viewing is
the phalanx of incredibly compelling women the film presents. Every single
female part and its actor is a great and moving character, even Ann Todd whose
part is written dangerously close to near simpleton. But Hitch and Garmes throw
everything they have into building her up visually. In fact, Garmes gives her
more close-ups than Alida. Also wonderful to watch, Ethel Barrymore as the
appalling Laughton's suffering fragile wife whose heart is obviously broken by
everything she sees in life, and Coburn's feisty daughter, Judy, a terrific
Joan Tetzel.
The new Blu-ray transfer is presumably taken from
the same element used for the older Artisan Pal DVD releases of the movie. In
those low-rez versions a number of visible flaws in both the source and the
scan were less obvious. In the new Blu some sequences show what looks like but
isn't aggressive grain, more likely high frequency noise from attempts to "sharpen"
and give depth to weaker sections of the reel. Overall the image quality for
the new Blu is fair to good, but this is definitely a Hitch title I would like
to see given full cleanup restoration with a new 2K if not 4K scan. Meanwhile
buy and enjoy with pleasure. Region free.
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