Word: hitchcocked
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HOLLYWOOD: THE SELZNICK YEARS (NBC, 10-11 p.m.). Henry Fonda narrates this special on the career of Movie Producer David O. Selznick with some rarely seen film clips and comments from Ingrid Bergman, Katharine Hepburn, Rock Hudson, Joseph Cotten, Alfred Hitchcock, Janet Gaynor and Dorothy McGuire...
...innocence. The 400 Blows and Jules and Jim were about the destruction of innocence. Shoot the Piano Player and The Soft Skin described its dangers, and Fahrenheit 451 was its vindication. Even last year's The Bride Wore Black (TIME, July 5), a hard-edged homage to Hitchcock, contained much of the director's characteristic compassion for its driven, doomed characters. Stolen Kisses is Truffaut's newest and gentlest film, a lovely memory of adolescence that begins with the delight of youth and ends with the promise of a melancholy maturity...
...needs makes up the story (although we don't learn this until the film ends); by showing how his warped vision limits the success of his life-style, Chabrol has created one of the few truly original and important single characters in recent narrative films (others are Ferguson in Hitchcock's Vertigo, John T. Chance in Hawks' Rio Bravo, Bannion in Lang's The Big Heat...
Hour of the Wolf. Ingmar Bergman's best film in a long time poses some weighty questions and has the sense to treat them violently in stark and terrifying images reminiscent of Hitchcock (Bergman's favorite director). If you are interested in current discussions of artistic impotence, the dementia of Bergman's protagonist (Max von Sydow) becomes the film's focal point. I found myself more involved by his wife (Liv Ullman) who, in loving him, tries to share his madness but cannot ultimately follow...
...prefer the romantic perception of Soft Skin, Truffaut's best film to date. But you have to give him points: the scenes between Julie (Jeanne Moreau) and the artist (Charles Denner) blend exposition and characterization as cinematically as anything this side of Chabrol. Also Truffaut's obsession with Hitchcock has finally left the realm of shot-copying, resulting in some interesting notions about audience identification, point-of-view cutting, and flashback structure...