'Foreign Correspondant' is definitely one of Hitchcock's more refined, less self-indulgent works, especially of the earlier films. His attention to detail had me shaking my head in amazement for nearly two hours straight. No one can weave a tangled web with such delicacy as he could, keeping his plot thick enough to captivate his audience and keep them guessing, but never confusing them! This film has some really...↓
Malgré la qualité de la mise en scène (notamment la scène silencieuse de tension du moulin, celle de la catastrophe aérienne et la scène finale d'appel à l'intervention américaine), de la photo et des éclairages, Correspondant 17 n'est pas un grand Hitchcock. Le maître peine à nous faire croire à son histoire, partout bancale, qui manque surtout d'enjeu, puisque le prétexte de celui-ci nous échappera jusqu'au bout.
Classic Hitchcock espionage thriller that finds an American foreign correspondent drawn into a pursuit of spies, murder, kidnapping and of course romance. Memorable sequences throughout especially the famous umbrella pursuit, the windmill and the plane crash. McCrea takes a bit to warm up to here but solid support throughout. Made on the cusp of the U.K. entry into WWII.
As far as Hitchcock films go, this is really not much to write home about. It feels like a watered down version of one of the director’s films, with the impressive set piece here or their (specifically the assassination in the rain and the plane crash finale), but other than that pretty standard stuff. Not amongst the filmmakers finest, but serviceable I guess, with one or two standout scenes and not a lot else.
this film has not aged well. stage-like over-acting, too much explanation, tacky film-studio backdrops. what might have been interesting special effects then comes across rather amateurish today. hitchcock was probably never revered for subtle plots (mcguffin galore), but this propaganda-story is outright ludicrous.
Made in 1940, Hitchcock tries to put on a brave face but his fear of what is about to happen to Europe shows through. The story of the American journalist stumbling into geopolitics is light at first glance, but the warnings of the coming war are clear and urgent. This movie speaks loudly to us now as the international order created after WWII is crumbling. A great and timely pick!
A symphony of agony. Ringing so softly in the ear all along the way, and the pain is latent, untill the climax. Oh my god the climax! The climax of climaxes! Shots are finally fired, revealing us from the suspence. The shots are cries of help from the center of the earth. They are friend and foo screaming in horrifying polyphony.
Sumptuous and riveting. Although 14 writers were credited on the film -- including Robert Benchley, who plays a wastrel reporter -- it's all Hitchcock. One of his first American films where he established his signature mise en scene, artfully crafted shot by shot. The windmill scene and the rooftop scene are particularly notable. Story gets a bit thin and jingoistic near the end but still a great espionage thriller.
On one hand, the film takes "Foreign" right out of "Correspondent" w/how it treats non-English speakers. There's also a big sense of patriotism for the US that rivals American Sniper. On the other hand, the film is beyond its time. The way it uses suspense by giving the audience more info than the characters is impressive. Love how the romantic angle blooms in the middle instead of waiting till the end. Plot=emotion
Great style, but basically a dumb Hollywood film, just stylistically better than most other mid-century Hollywood pictures. Ending the film with the Star Spangled Banner makes me want to drop it down to 2 stars, but to be fair, it isn't quite that bad other than the gratuitous patriotism. Hitch was a master of suspense but also a shlockmaster.
Confession: aside from being nice to look at, I think Joel McCrea sucks. Otherwise, this is intermittently brilliant (some great setpieces, especially the plane crash; a couple of brilliant supporting performances), but often bewildering (the climactic death barely registers, the central conflict is too complicated to be a MacGuffin but too vague to be intriguing, and let's not even talk about that final scene).