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Ahorra EUR 7,91 (29%)
Hitchcock and the Making of "Marnie" (The Scarecrow Filmmakers Series) Versión Kindle
|Longitud: 240 páginas||Word Wise: Activado||Idioma: Inglés|
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We get the impression that Alma Reville, though not technically credited as an editor on the film, was always Hitch's backstage editor and that she was responsible for many of the odd gaps in the film. (The credited editor, George Tomasini, died of a heart attack the year MARNIE was finally released, worn out by the stress.) The Hitchcocks had wanted Grace Kelly--sort of--they don't seem overly upset when she quit the project--and thus Hitchcock went back to Tippi Hedren, whom he had discovered on a TV commercial and who had made her debut on THE BIRDS. The world knows the Tippi Hedren story and hos Hitch put her into the deep freeze early in the shooting of MARNIE, terribly sad, but he had made himself into a god and sometimes gods stumble and humans suffer. It was a little unnnerving hearing Louise Latham who played Marnie's mother, describe the way Hitch told her that he had Jessica Tandy in reserve if she, Latham, didn't shape up! As for Sean Connery, yes, perhaps MARNIE is better because Rod Taylor isn't in it, but it's a close call, too close for me to make.
Does the book make sense? It is close as we will ever get to discovering the truth about what happened to Grace, and what happened between Hitchcock and Tippi Hedren. What a shame that, one of ths screen's strongest and most powerful and lovely actresses was, for whatever reason, kept off the screen due to her owner's whims for many years, and when she came back, it was for the sort of parts that were beneath her. Apparently the higher ups didn't want to offend Hitch by employing her, so she was on an unofficial graylist, broken only by Chaplin who could have cared less what young Hitchcock thought, in A COUNTESS FROM HONG KONG, itself a film of many mysteries and a controversial reputation. Mr. Moral has done his homework and has convinced me, at any rate, that that flattery of Truffaut, Godard etc had turned Hitchcock's head into believing that he was making some sort of nouvelle vague love slash art film in which the artificial was to attain a primacy hitherto reserved for suspense in his oeuvre. Does the movie work, oh my God of course, even with just a handful of characters and that red thing going on.