This online event took place on Friday 11th and Saturday 12th June. It was organised by Adrian Garvey of Birkbeck, London University and Vicky Lowe of the University of Manchester. The event comprised four main sessions plus ‘Speakers’ Roundtables’, a discussion about music and performance featuring Neil Brand and Stephen Horne and a video essay presentation from Catherine Grant. Online events like this offer anyone interested in the subject the opportunity to join part or all of the sessions as a spectator. The sessions were accessible through Zoom but the only chance of interaction was via the ‘chat’ function which allowed questions to be put to panellists. (Questions were only visible to the panellists.) Being able to access what was in this case quite a ‘starry’ selection of film scholars was very welcome. I was able to follow only parts of three of the main sessions on what was otherwise a busy weekend so my apologies to contributors to the other presentations I wasn’t able to see.
I’m sure that we have all experienced a wide variety of online events over the past 15 months and as someone who has been on both ends of Zoom technology in events I’m all too aware of what can go wrong and how difficult it is to construct a presentation and deliver it by sharing your screen. I congratulate Adrian and Vicky for getting the show together and co-ordinating contributions from various sources so effectively. This was an impressively ‘collegiate’ event and when the inevitable glitches occurred, everybody was patient as they waited for problems to be dealt with. There is nothing like physically being at a conference/symposium, but online events do have a future I think.
The conference blurb opened with this passage:
Hitchcock’s professed disdain for actors is belied by the extraordinary range and depth of performances featured in his films. It might even be argued that many stars gave their richest and most complex performances in his work. Hitchcock’s films are also imbued with the theme of performance, as when his fugitive men and errant women assume fragile new identities and move between roles. Actors and other performers also often feature as characters.
Hitchcock scholarship has been extensive and the multi-layered concepts of stardom, acting and the exploration of ‘performances’ in Hitchcock’s films suggested a potentially fascinating mix of ideas. The second session on Friday afternoon saw Charles Barr open his paper with a surprising comparison of Julia Robert’s face and the face of her dog, which one of the Monty Python team had suggested could be read in much the same way. Hitchcock was very fond of dogs and many appear in his films. But he knew that you could usually easily tell a dog’s feelings from its face but that actors could present expressionless faces that could provoke very different readings depending on how they were shown in relation to other images as demonstrated by the Pudovkin/Kuleshov Effect. Charles explored Hitchcock’s ideas and how he used the effect before discussing the two Hitchcock shorts that he made in 1944 in London on behalf of the French Résistance. I’d never seen these before or thought about Hitchcock’s use of long takes after the war, partly linked to wanting to avoid the artifice of cinema when he worked on a concentration camp documentary. This was a fascinating presentation with a great deal crammed into 30 minutes. It was followed by Adrian Garvey on Claude Rains as a character actor in a leading role in Notorious, focusing on his ‘underplaying’ and his voice qualities. Alex Glancy followed this by looking at the working relationships between Hitchcock and Cary Grant, both men holding firm convictions about their work as director and star respectively. Alex’s discussion of Grant’s approach made an interesting comparison with the presentation on Claude Rains.
The programme was organised chronologically in terms of Hitchcock’s films so I had missed the silent period and ‘English Hitchcock’ on early Friday afternoon. The third session began on Saturday with Melanie Williams explaining how ‘Richard Todd suffers Stage Fright: neurotic postwar British masculinity’. I was particularly interested in Stage Fright (1950) which I managed to watch again before the Symposium. Melanie’s approach as a British Cinema scholar seemed germane to me since I feel strongly that this is a ‘British’ film, partly because of the range of British character actors featured. Richard Todd is a strange British actor for me. His sudden rise to stardom with The Hasty Heart (UK-US 1949) and his slow decline after The Dambusters (UK 1955) structured a career covering the period of ‘postwar British masculinity’ that has been worked on for a while but still offers new findings I think. Todd has never appealed to me but I learned plenty from the presentation to get me interested in looking at more of his work.
Strangers on a Train (1951) followed Stage Fright and we were offered some ideas about casting and performance by Alex Clayton. I was pleased to see this being tackled as I think casting is one of the least researched aspects of film studies. The background to this second Hitchcock film for Warner Bros. is fairly well known with the difficulty of developing a script from Hitchcock’s ideas about adapting Patricia Highsmith’s novel being matched by similar difficulties in getting all the actors Hitchcock wanted. He did get Robert Walker from MGM, a casting often referred to as a ‘casting against type’, an idea which Alex explored in his presentation. But Hitchcock failed to get William Holden as the Guy Haines character and instead went back to Farley Granger who he had used in Rope. Finally, Ruth Roman was forced on him by Jack Warner to play the Senator’s daughter. It’s not difficult to see why Alex chose this film for his research. He questioned ideas about ‘miscasting’ and as in some of the other presentations, briefly discussed the idea of the commutation test first suggested by John O. Thompson. It’s difficult now to imagine William Holden playing Guy. Hitchcock perhaps got some of his casting ideas ‘wrong’ first time round but he was certainly successful in casting Walker – or should we instead state simply that it would have been a different film with Holden? Alex explained that his research has been restricted by the pandemic in the last year since he has not been able to access Hollywood archives or to shadow a casting agent which would, he hopes, give him another perspective. I look forward to what might eventually emerge from the project.
The third paper in the session took us in a slightly different direction when Tamar Jeffers McDonald explored the singing performances of Doris Day as Jo Conway in the 1956 version of The Man Who Knew Too Much. Tamar offered both a detailed look at some of the nuances of Day’s singing and her emotional renderings of songs associated with the abduction of her son. She also explored Day’s dual persona of a singer who acts and an actor who can (really) sing. This was a very interesting paper and I wish I had seen the film more recently to have better appreciated some of Tamar’s analysis. I managed two papers in the fourth session. The first by David Greven offered ‘When the Villain Winces: Ray Milland and Villainous Empathy in Dial M for Murder (1954)’. In a way this seemed slightly out of place because the film preceded the Doris Day film. But then again it could also have followed the two papers dealing with Claude Rains and Cary Grant. I think this shows how interconnected these papers were. David did offer us some thoughts about how the comparison with Grant and the different performances of villainy from Rains, or in Grant’s case in Notorious at least ‘unsympathetic’ men, could be productive. I’m afraid I lost some of this presentation because I became distracted from my screen but I can see that there is something here. It would be interesting to include Stage Fright in which the usual suave Englishman type preferred by Hitchcock is played by Michael Wilding and the ‘villain’ is Richard Todd, a rather different type altogether.
Finally, I caught Lucy Bolton’s paper ‘Polished to perfection: the role of neatness and grooming in the performances of Tippi Hedren’. I had been looking forward to this as Marnie is possibly my favourite Hitchcock film and I’ve always thought Tippi Hedren has been misrepresented as a performer. I wasn’t disappointed and I enjoyed learning things about Hedren that I didn’t know before or perhaps had forgotten. Lucy spoke about Hedren’s long career as a model and her professionalism on photo shoots and, as the title of her paper suggests, the way in which she could not only wear the clothes so effortlessly but also know how to use clothes and accessories to create meanings. I think I know almost every line of dialogue and every image of Marnie but now I’m determined to look at Hedren’s performance in The Birds again.
I enjoyed all the parts of the symposium that I was able to watch and I would like to thank Adrian Garvey and Vicky Lowe for putting it all together and all the panellists for their contributions which should prove useful and productive for all of us in the online audience.