NORTH BY NORTHWEST: Deconstruction of a Scene (The crop duster sequence)

The crop duster sequence in North by Northwest is not only one of the most memorable scenes in Alfred Hitchcock’s body of work (second only to the shower sequence in Psycho);  it is arguably one of the most iconic sequences in all of American film.  Even people who have not seen the film recognize the image of Cary Grant sprinting across a dusty field with the plane closing in from behind.download (1)What is it that makes this scene so memorable?  It is edited in a way that is not typical for Hitchcock, with many short, quick cuts.  But more about that in a minute.  First, lets let Hitchcock himself set the scene, explaining why he chose this particular setting to shoot the scene:

“Now in movies…the cliche of the man being put on the spot is usually a place of assignation and it takes the form of a figure under a street lamp at the corner of the street with the rain-washed cobbles shining in the night…this is the cliche atmosphere in which you put a man who has been deliberately placed in danger.  Somebody is going to come along and bump him off.  Well of course, this is such a cliche thing, you see, that one has to fight shy of it and run as far away from it as one possibly can because it’s all predictable.  Now I decide to do something quite different…therefore, I take the loneliest, emptiest spot I can so that there is no place to run for cover, no place to hide, and no place for the enemy to hide.”

This sequence is 9 minutes and 45 seconds long, and contains 133 editorial cuts, which means the average shot length is only 4.4 seconds.  This is very atypical for Hitchcock and editor George Tomasini, who often employed long takes, and avoided standard cutting whenever possible.  (It is worth noting that  Tomasini edited nine films for Alfred Hitchcock, including the classics Rear Window, Vertigo, North by Northwest, Psycho, and The Birds.  Tomasini edited 23 feature films in total, inexplicably never winning an Academy Award, before his life was cut short prematurely at the age of 55, by a massive heart attack.  His only Oscar nomination was for this movie, North by Northwest.)

This sequence opens with a dissolve, from a close-up of Eva Marie Saint’s concerned face, to an overhead shot of  a desolate, empty field, flat to the horizon.  A bus approaches and discharges one person, then continues on its way.

nxnwdecon1

This opening establishing shot lasts about 56 seconds.  Here is Hitchcock again:

“Now we get him off the bus and we stand him, a little tiny figure, showing, establishing very clearly the complete wasteland everywhere…the mind of the audience says ‘Well.  This is a strange place to put a man.’  Now we go down and we go close on him, and this is where the design comes in.”

nxnwdecon2

Now Hitchcock begins a series of shots that establish a POV style of shooting and editing.  First, we see Cary Grant looking at something, as in the above shot.

nxnwdecon3

Next, we see what Cary Grant sees, from his point of view.   The next shot returns to Cary Grant.

nxnwdecon5

This pattern of cutting from Cary Grant looking, to a point-of-view shot, back to him reacting to what he sees, continues for the first 34 shots, which take just over two and a half minutes.  This puts  the viewer in Cary Grants place.  We have seen what he sees.   And the bright, flat expanse fills us with dread.  Every passing car could be a potential killer.  Hitchcock continues to ratchet up the tension.  He explains:

“Motion picture mood is often thought of as almost exclusively a matter of lighting, dark lighting.  It isn’t.  Mood is apprehension.  That’s what you’ve got in that crop duster scene.”

“…he looks around him and cars go by.  So now we start a train of thought in the audience.  ‘Ah, he’s going to be shot at from a car.’  And even deliberately, with tongue in cheek, I let a black limousine go by…Now, the car.  We’ve dispensed with the menace of possible cars or automobiles.”

nxnwdecon8

“Now a jalopy comes from another direction, stops across the roadway, deposits a man, the jalopy turns and goes back.  Now he’s left alone with the man.  this is the second phase of the design.  Is this going to be the man?  Well, they stand looking at each other across the roadway.”

nxnwdecon6

 

This is a fantastic shot composition, breaking the back and forth between Cary Grant and his point of view.   This is the 49th shot of the sequence, occurring about three and a half minutes in.

Here is Hitchcock again:

“Grant, our hero, decides to investigate, and casually walks across and talks to the man.”

nxnwdecon7

Up to this point in the sequence, the camera has remained static.  But now, as Grant walks across the road to the man in the brown suit, the camera tracks towards him, again in the form of a point of view shot.  The tension has continued to escalate, all this time.

nxnwdecon9

When Grant first addresses the man (played by veteran character actor Malcolm Atterbury, who appeared in well over a hundred movies and TV shows) the sequence has gone on for 4 minutes and 10 seconds with no music and no dialogue.  But it feels like much less time, because of the manner in which the sequence has been edited together.  When is the last time you saw a movie that had no dialogue or music for over 4 minutes?  Let’s hear from Hitchcock again:

“…obviously nothing is going to emerge from this man…Now the local bus comes and just as it pulls up – and this is a matter of timing – just before it gets to the stop, the man says to Grant ‘That’s funny.’  And Grant says ‘What’s funny?’  He says ‘That plane’s dustin’ crops where there ain’t no crops.’  Before this can be gone into in any way at all he’s on the bus and gone.  So now you’ve got the third phase.  The audience says ‘Ah, the airplane.'”

nxnwdecon9

 

Again the sequence returns to the earlier format of showing Cary Grant, showing us what he sees from his point of view, then showing us Grant again as he reacts to what he sees, which in this case is the crop duster plane running him down and shooting at him.  Up to this point in the sequence, everything has been shot on location.  In the movie, it is an Indiana highway, but in reality the sequence was shot on California Highway 155, near the town of Delano (north of Bakersfield.)North-By-Northwest-on-Google-Maps

This is what it looks like today, according to Google Maps.  As you can see, it really hasn’t changed much at all.  The scene is improved by being shot on location.  There is no question that you are really seeing Cary Grant, running at full speed, sweat on his brow, his tailored suit getting dusty and his tie flapping over his shoulder.  There are a few inserts though, that were shot in the studio.   These occur when Cary Grant dives to the ground and the plane passes, and shoots at him.  The first of these is the 73rd shot of the sequence.

nxnwdecon10

So this is a process shot, filmed back at MGM studios.   There is a screen behind Cary Grant, projecting footage of the plane passing.

nsnwdecon16

You can see how this was achieved in this rare behind-the-scenes photo taken during filming at MGM.  Watching this sequence on blu ray, these basic process shots hold up very well.  One of the keys to this is again in the quick cutting.   The cutting between the studio shots and the location shots is fluid and seamless.  The back-and-forth cutting between Cary and his point of view continues, but now the shot length is getting shorter; many of the shots now are averaging less than 3 seconds in length.  He ends up in a field of dried cornhusks, and again the close-ups of Cary in the corn were shot in the studio.

nxnwdecon11Time to hear from Alfred Hitchcock again:

“There is no cover until he gets into the cornfield.  Now, you do in the design a very important thing.  You smoke him out with the very instrument that you’re using, a crop duster.  Theory being, don’t have a crop duster without your using it, otherwise you could have any airplane…It must be used according to its function.  All backgrounds must function.”

nxnwdecon14

After Cary Grant gets smoked out of the corn he runs towards the road, and there is a shot of him from behind, running.  This shot breaks the point of view pattern that has been established up to this point.  Grant runs into the road and tries to flag down a truck.  Again we return to the previous pattern, cutting from Grant waving his hands, to the truck getting closer and closer, until the truck is right on the camera, and the viewer.

nxnwdecon15

nxnwdecon12

 

The truck stops, almost running Grant over in the process, and the plane, out of control, crashes into the truck.  There is a quick sequence here of the plane striking the truck and bursting into flames which appears to be a model shot.  These two model shots last literally less than a second, almost subliminal, and then Hitchcock cuts back to location, and the full-size plane already engulfed in flames.  Again this section works because of the rapid and seamless cutting.

nxnwdecon13

As soon as the plane crashes, a Bernard Herrmann musical cue begins.  This is the first music to appear in almost nine minutes of screen time.  The sequence ends with Cary Grant stealing the pick-up truck of an onlooker, and finishes as it began with another dissolve, this time to the abandoned truck on the streets of Chicago.

So what Alfred Hitchcock (and George Tomasini) have managed to do in this sequence is build tension and menace first and foremost by confounding the viewers’ expectations, putting us in a bright, shiny place where nobody could hide; then shifting our focus from one element to another.  This was accomplished using almost no dialogue and even less music, all through the brilliant and seamless editing.  Let’s let the master have the final word:

nxnwhitch
Alfred Hitchcock and Cary Grant on location, shooting the famous crop duster sequence.

“Oh, well a cut is nothing.  One cut of film is like a piece of mosaic.  To me, pure film, pure cinema is pieces of film assembled.  Any individual piece is nothing.  But a combination of them creates an idea.”

Advertisements

NORTH BY NORTHWEST (1959): “That plane’s dustin’ crops where there ain’t no crops.”

NORTH BY NORTHWEST (1959) – MGM – Rating: ★★★★★

Color – 136 mins. – 1.66:1 aspect ratio

Principal cast:  Cary Grant (Roger Thornhill), Eva Marie Saint (Eve Kendall), James Mason (Philip VanDamm), Martin Landau (Leonard),  Jessie Royce Landis (Clara Thornhill), Leo G Carroll (The Professor), Edward Platt (Victor Larrabee), Edward Binns (Captain Junket).

Produced by Alfred Hitchcock, Associate Producer Herbert Coleman

Screenplay by Ernest Lehman

Director of Photography:  Robert Burks

Editor:  George Tomasini

Original musical score:  Bernard Herrmann

Production Design:  Robert Boyle

Title sequence designed by Saul Bass

Alfred Hitchcock’s film output during his first two decades in America is astonishing, especially by today’s standards.  Between 1940 and 1959, Hitchcock directed 23 feature-length films, an average of one film every 11 months.  If that is not impressive enough, during this same time period he still found time to direct 14 episodes of the Alfred Hitchcock Presents TV show, 2 TV shows for other anthology programs, and several short propaganda pieces during World War II.  He also recorded his personal opening and closing remarks for 167 episodes of his television program, as well as doing extensive pre-production on several film projects that never came to fruition.   Whew!   I’m exhausted just listing his accomplishments.

So at any given time during this period, it was not uncommon for Hitch to be working on up to three different projects simultaneously.  In the summer of 1956, he was going on a promotional tour for The Wrong Man, which he had just finished filming.  His next planned film was to be Flamingo Feather, but this movie was scrapped after already being announced in the trades as a Hitchcock feature to star James Stewart.   This meant that Vertigo, which was in the screenwriting phase, was moved up to be Hitch’s next feature.  And what would follow Vertigo?

MGM was in turmoil at this time.  At one time Hollywood’s most prestigious studio, MGM had just fired Dore Schary as studio head and stockholders were in a panic.  MGM began courting Hitchcock; if the studio could announce a future Hitchcock film, shareholders would be pacified.  So Hitchcock was hired to direct The Wreck of the Mary Deare for MGM upon completion of Vertigo at Paramount.

Hitchcock hired Ernest Lehman to write a screenplay for Mary Deare, but Lehman was struggling with the adaptation.  He wanted to quit the project, but Hitchcock told him they would just shelve that screenplay and create something original together.  And that original screenplay, which was born out of Hitchcock’s desire to stage a chase scene atop Mt. Rushmore, would become North by Northwest.  

nxnwtitle
An image from the iconic Saul Bass title sequence.

North by Northwest begins with a burst of kinetic energy;  Saul Bass’ title sequence, a series of intersecting diagonal lines which become the side of a Madison Avenue skyscraper, meld with Bernard Herrmann’s driving music.  The skyscraper image is followed by a montage of people in motion, and the title sequence ends with Hitchcock himself missing a bus.  The message is clear;  the viewer had better keep up, or be left behind.  When we first see Cary Grant as Roger Thornhill he is stepping out of an elevator, walking and talking.  This film begins as if we are joining a movie already in progress.  There is no slow build, no exposition to set the scene;  that will come later.  Just a few short minutes into the movie Thornhill (Grant) has been kidnapped in a case of mistaken identity.  A group of spies have mistaken him for George Kaplan, a government agent.   The ringleader of the spies is Philip VanDamm, played by the impeccable James Mason.   Mason questions Roger Thornhill at a large Long Island estate, then has his henchmen (led by a young Martin Landau in the role of Leonard) get him drunk and put him behind the wheel of a car, planning to drive the car off of a cliff.

 

nxnw2
Cary Grant is interrogated by Martin Landau and an amused James Mason.

Roger Thornhill manages to escape his would-be assassins and ends up in the hands of the police.  We soon meet Roger’s mother, played by Jessie Royce Landis.   Landis had played Grace Kelly’s mother in the Hitchcock film To Catch A Thief, and she and Cary Grant established a great rapport in that movie, so it was natural to pair them together again.   (Many sources have cited that Landis does a great job in this movie, despite the fact that the actress is too young to be Grant’s mother.   Many people have even said they are the same age, or that Landis is younger than Grant.  Let’s put this spurious tale to rest now.  Jessie Royce Landis was born on November 25, 1896, while Grant was born on January 18, 1904.  So while it is true that Landis is not old enough to be Grant’s biological mother, she is over seven years older).

Thornhill begins a search for the man he was mistaken for, George Kaplan, believing that he will hold the answers to this mystery, and his mother accompanies him as he begins his search.  Soon enough the spies are hot on his tail again, and he is framed for a murder.  Now public enemy number one, he sneaks aboard the 20th Century Limited train en route to Chicago, and meets Eve Kendall, played by Eva Marie Saint.  It is interesting to note that Saint, the leading lady, does not make her entrance until the 44th minute of the film.  And once she makes an appearance, Jessie Royce Landis does not appear in the film anymore, nor is she referenced.   So Cary Grant’s character is under the thumb of his mother in the beginning section, and that female control transfers to Eva Marie Saint for the duration of the film.

nxnw4
Eva Marie Saint and Cary Grant are essentially having sex with their clothes on; this is about as sexually charged a scene as Hitchcock ever shot.

This next section of the movie, as Grant and Saint converse in the train’s dining car, then later rendezvous in Saint’s sleeping compartment, are some of the most sexually charged scenes in 1950’s cinema.  Screenwriter Ernest Lehman’s dialogue walks a subtle line, but there is nothing subtle in the way that Eva Marie Saint looks at Cary Grant; it is a bold and brazen seduction.  By the end of the train sequence, the audience knows a few things that Roger Thornhill does not.  Hitchcock typically liked to give the viewer information that the protagonist lacks.  So by this point the viewer knows that George Kaplan does not exist, and that Eve Kendall is somehow associated with James Mason and the spies.  Things are looking rather hopeless for Roger Thornhill.

Eve Kendall sends Thornhill to a supposed meeting with Kaplan on a deserted Indiana highway, where he faces another assassination attempt.  The crop duster sequence is not only one of Hitchcock’s greatest triumphs, but one of the most memorable scenes in film history.  Couldn’t these spies think of less elaborate ways to kill someone?  It certainly seems like a lot of trouble to go to, sending a man to the middle of nowhere, so he can be gunned down by a crop dusting plane.  Of course, within the confines of the movie, the viewer does not question the logic of the scene, in part because of the movie’s frenetic pace.  Every scene seems a logical follow up to the preceding scene.  ( I will do a deconstruction of the crop duster sequence in my next blog entry.)

download (1)This sequence marks a pivotal change in the movie; up to now Roger Thornhill has been a victim of circumstances beyond his control.   He has been emasculated and manipulated like a pawn.  He does not yet understand how all the pieces fit together, but he does know that he can only rely on himself if he wishes to survive.  This sets up another fantastic sequence which takes place in a Chicago auction hall, where Roger Thornhill confronts Eve Kendall, VanDamm, and Leonard.    VanDamm is standing behind Eve, with a hand on her shoulder, as if he is clutching a possession.  At one point in conversation, VanDamm asks Eve if Thornhill was in her hotel room, to which Thornhill replies “Sure, isn’t everyone?”  Hitchcock then cuts to a close up of VanDamm slowly removing his hand from Eve, which is as telling as any dialogue could be.  Once again it seems that Roger Thornhill will be captured and killed, and once again he uses his wits to escape.

nxnw5
Cary Grant’s character is beginning to assert himself, and now it is Eva Marie Saint who feels like a pawn as the two men tower over her, discussing her as if she were an object.

 

Finally Roger Thornhill meets an American intelligence officer known as the Professor, (Leo G. Carroll), who fills in the blanks for Thornhill.  He now realizes that Eve is working for the Americans, and he realizes that he has put her at risk.  This sets up the final sequence of events at Mount Rushmore, which involves much duplicity amongst the leading characters, until finally Thornhill and Grant are fleeing for their lives on the monument itself.  Hitchcock was not allowed to film on the monument, so this sequence was made with some gorgeous process shots that combine matte painting with a scale model of the Rushmore faces that was build at MGM.  The film ends as it began, in motion, and finally the audience can catch its collective breath.

Themes:  One of the reasons that North by Northwest is such an iconic film is because it contains all of Hitchcock’s major themes.  First and foremost is the innocent man falsely accused of a crime, who is trying to find the real conspirators while staying one step ahead of the police.   He had already filmed variations of this theme several times (The 39 Steps, Young and Innocent, Saboteur), and while those are all good films, this movie can be seen as the culmination of his life’s work.  Other prominent Hitchcock themes present in this movie include the icy blonde leading lady;  the domineering mother; and the debonair gentleman antagonist.   There are a handful of Hitchcock films that feature a hint of homosexuality, and there is a slight element of that here in Martin Landau’s character Leonard.  Late in the film he utters the line “Call it my woman’s intuition.”  And James Mason’s character accuses him of being jealous.  There is certainly a suggestion here that Leonard’s feelings for his boss went beyond the professional.

Hitchcock and the censors:  Alfred Hitchcock delighted in sneaking sexual subtext past the film censors, and he succeeded many times in his career.  There is one line of dialogue in this movie that the censors would not approve, however.  When Eva Marie Saint is talking to Cary Grant in the dining car, the original line of dialogue was “I never make love on an empty stomach.”  This was unacceptable to the censors, so the line was looped to say “I never discuss love on an empty stomach.”  If you watch Eva Marie’s lips, you can clearly see the dialogue does not sync up.  It doesn’t really matter what she said, though, because the tone of her voice, the way she looks at Cary Grant, the way she pulls his hand towards her to light her cigarette, are as blatantly sexual as a major movie scene could be shot at the time.

nxnw7

Hitchcock also delighted in the final shot of the movie, which did not appear in the screenplay;  it was Hitch’s own invention.  As Cary Grant pulls Eva Marie Saint into the upper berth bed on the train, Hitchcock cuts outside, to a shot of a train entering a tunnel, which was a not-too-subtle mimicking of the act of sexual penetration.  Hitchcock was very proud of this shot, telling the story many times.

Hitchcock and final cut:  At two hours and sixteen minutes, this is the longest film of Hitchcock’s entire career.  But it certainly doesn’t seem like it;  the fast pace, the constant shift in location, and the witty dialogue ensure that the movie never lags.  A couple of Hitchcock’s later pictures certainly feel longer (I’m talking about you, Torn Curtain and Topaz).   But MGM had reservations about the movie’s length at the time.  They wanted him to cut one sequence in particular:  when Cary Grant and Eva Marie Saint meet in the woods after she has pretended to kill him, and they say their goodbyes.  Hitchcock believed the scene was necessary, and after getting reassurances from his lawyer that the “final cut” clause of his contract was ironclad, he respecfully told the studio that he would not cut a frame.  In the end, North by Northwest was the highest-grossing film of Hitchcock’s career to date, a massive hit with critics and audiences.  This is one time where the master was right to stand his ground.

Performance:  Every single performance in this film is spot-on, from the leads to the minor supporting characters.  Cary Grant would remain very proud of this film until he died, and justifiably so.  James Mason was so good as the bad guy, it has been suggested that his character was the prototype for a generation of James Bond villians to follow. Eva Marie Saint showed as much range as any female lead in the Hitchcock canon.

Academy awards:  North by Northwest received three Oscar nominations:  best original screenplay, Ernest Lehman;  best film editing, George Tomasini; and best Art Direction – Color.   It was another MGM picture that was the big winner at the 1960 Academy Awards – Ben-Hur.  That film would dominate the night, winning 11 total Oscars.  While it is hard to argue with Ben-Hur  in the editing category, I honestly feel like North by Northwest got robbed in the Color Art Direction category.  The sets in this movie are simply sublime, to the extent that they influenced many films that followed.

nxnw6

Recurring players:  Cary Grant had also appeared in Suspicion, Notorious and To Catch A Thief.  Jessie Royce Landis had worked with Cary Grant in To Catch A Thief.  Leo G. Carroll appeared in more Hitchcock movies than any other actor, including Rebecca, Suspicion, Spellbound, The Paradine Case, and Strangers on a Train.  Malcolm Atterbury would later appear in The Birds.  Sara Berner, Len Hendry and Jesslyn Fax had been in Rear Window.  Tommy Farrell and Robert Williams were in Strangers on a Train.   Kenner G. Kemp had appeared in The Paradine Case, and would later be in Marnie.  Doreen Lang was also in The Wrong Man and The Birds.  Alexander Lockwood was in Saboteur and Family Plot.  Frank Marlow had also been in Saboteur and Notorious.  Howard Negley and Frank Wilcox were also in Notorious.  Jeffrey Sayre was also an extra in Saboteur, Notorious, and Vertigo.  Bert Stevens was in The Paradine Case and Marnie.  Harry Strang and Dale Van Sickel were in Saboteur. 

Where’s Hitch?  Hitchcock’s cameo in this movie is impossible to miss, coming at the end of the title sequence.  At about the 2:09 mark, just as his director’s credit disappears from the screen, Hitchcock attempts to board a bus, which closes the door in his face and pulls away without him.

What the actors said:  Eva Marie Saint said that Hitchcock only gave her three simple instructions for her character:  “Lower my voice; don’t use my hands; and look directly at Cary Grant in my scenes with him, look right into his eyes.  From that, I conjured up in my mind the kind of lady he saw this woman as.”

Cary Grant, speaking of his relationship with Hitchcock, said that “Hitch and I had a rapport and understanding deeper than words.”

James Mason admitted that he enjoyed Hitchcock’s movies and found him a charming man, but admitted that he thought Hitch as a director used actors like “animated props.”

What Hitch said:  I’ll include some in-depth comments from Hitchcock in my next entry, about the crop-duster sequence.

Definitive edition:  Warner Brothers blu-ray, released in 2009, is the best version available.  First of all, the VistaVision transfer is breathtaking.   This may be the best looking of all of Hitchcock’s films on blu-ray.  The soundtrack is high quality as well.  The blu-ray includes a feature-length (1 hr. 27 min.) documentary about the leading man called Cary Grant:  A Class Apart, as well as three other documentaries:  The Master’s Touch:  Hitchcock’s Signature Style (57 mins.), Destination Hitchcock:  The Making of North by Northwest (39 mins.) and North by Northwest:  One For the Ages (25 mins.)   Also included is a commentary track with screenwriter Ernest Lehman, a stills gallery, two theatrical trailers, one hosted by Hitchcock, and a TV spot.

 

 

In praise of Eva Marie Saint on her 90th birthday

Today as weevamarie1 celebrate our nation’s independence, I would like to take a moment to wish a happy  birthday to the amazing Eva Marie Saint.  Eva Marie was “born on the 4th of July” in the year 1924.    She had a variety of acting roles on television, beginning in the late 1940’s.  Her first film role was in Elia Kazan’s 1954 classic On The Waterfront.   Her performance in this movie is superb.  Her  character, Edie Doyle, is the only significant female role in the movie, and she was surrounded by  several male actors, all of whom were a sheer powerhouse of performance.   Eva Marie does not just  hold her own with Marlon Brando, Karl Malden, Rod Steiger, and Lee J. Cobb; she stands out.

It is hard to believe she was 30 when On The Waterfront was released, for she looks closer to 19.  Her  beauty could best be described as angelic, or otherworldly, which was precisely what the role called  for.  Edie Doyle was not only angelic physically, but morally as well.  Her meekness, her restraint, her  modesty represent the moral center of this amazing film.  Eva Marie won the Oscar for Best  Supporting Actress, one of eight Academy Awards bestowed on this American classic.

Eva Marie Saint only made one film with Alfred Hitchcock, and it just happens to be one of his best films, and a film that routinely ranks on “all time best” movie lists.  That movie is North by Northwest.   Eva Marie gives one of the strongest female performances in the entire Hitchcock canon.  Once again, she is a woman surrounded by men, who all desire her for different reasons.   The government wishes for her to fulfill her duty.  James Mason’s character also has a role for her to play.  And Cary Grant’s character is in love with her, but also using her to achieve his goal.  Eva Marie is brilliant from her first appearance on screen, and gets to show off her range.  Of course she is incredibly attractive, and her opening banter with Carey Grant has more than its share of sexual innuendo. evamarie2Both James Mason and Cary Grant believe they are using Eva Marie Saint; meanwhile, she is in complete control of the situation, and of them.  What her character didn’t plan on, of course, was falling in love with Cary Grant.    When Grant’s and Mason’s characters confront each other in the auction gallery, as Eva Marie sits forlornly in the chair, as if she is another piece to be sold to the highest bidder, her emotional turmoil is palpable.  She is smart, sexy, strong, a model of femininity;  the quintessential Hitchcock heroine.   She is also an ultra-modern woman, certainly by the standards of 1959, when the movie was released.

If On the Waterfront and North by Northwest were the only two films she ever made, her place in film history would be secured.   But of course she has continued to act, and act well.   She was good in the cold war comedy The Russians Are Coming, The Russians Are Coming.  She was memorably sweet and touching as Tom Hanks’ mother in the underrated Nothing In Common.   She was surprisingly well cast as Martha Kent in the 2006 Superman reboot Superman Returns.  And she continues to act to this day;  she can be seen in the 2014 film Winter’s Tale, starring Colin Farrell. So here is wishing a very happy 90th Birthday to a wonderful woman.  Thank you Eva Marie Saint, for all of the memorable performances.  May you have many more happy and healthy years.

Remembering Saul Bass on his birthday

saulbassGraphic designer Saul Bass was born on May 8, 1920, making this year the 94th anniversary of his birth (Bass died in 1996).   Before we look at the Bass/Hitchcock connection,  let’s take a look at what made Bass’s career so memorable.

You may have never heard the name Saul Bass before, but you are definitely familiar with his work.  Bass designed dozens of corporate logos, many of which became iconic over time.   Everything from the AT&T “bell” logo, to the Warner Brothers’ “W” logo, and many others that you would instantly recognize, all were created by Saul Bass.

Take a look at the following corporate logos, all designed by Saul Bass.  How many do you recognize?  This is just a small portion of his total output over a 40 year career.

Saul-Bass-Logo-Design

Saul Bass was so good at marrying a logo to a brand, creating “brand recognition”, that it was only a matter of time before Hollywood came calling, asking Bass to design movie posters.  Saul Bass designed dozens of iconic movie posters over a span of 4 decades.  Let’s take a look at just a few of his many memorable posters, including three that he designed for Alfred Hitchcock.

SaulBassVertigoSaulBassPsychoSaulBassBirds

 

 

saulbassStalagsaulbassSeven

 

Saul Bass’ most significant contribution to movies was not his iconic posters, however, but his title sequences.  Movie directors began approaching Bass in the 1950’s to create innovative and memorable opening title sequences for films.  Bass’ first title sequence was for the 1954 movie “Carmen Jones”, and his last was for Martin Scorsese’s 1990 release “Casino.”   Within that 36-year span Saul Bass created many ground-breaking title sequences.  It is not an understatement to say that Bass single-handedly changed movie title sequences.

This is what Saul Bass had to say about creating a title sequence:  “My initial thoughts about what a title can do was to set mood and the prime underlying core of the film’s story, to express the story in some metaphorical way.  I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.”

Saul Bass created three title sequences for Alfred Hitchcock:  for Vertigo, North by Northwest, and Psycho.  All three of his sequences are pitch-perfect; all succeed in “setting the audience up”, as Bass once put it.  It is worth noting that all three of these films were scored by Bernard Herrmann, and in each instance Saul Bass’ title sequence works in unison with Herrmann’s score to put the audience in a particular frame of mind, a particular emotional state, before seeing one image of Hitchcock’s movie, or hearing one line of dialogue.

Saul Bass’ legacy lives on beyond his death.  Not only are many of his corporate logos still used today, but his movie posters are collectors’ items,  and the title sequences he designed are seen every time somebody watches one of the classic films he was involved with.  Below you can watch Bass’s unforgettable title sequence for Alfred Hitchcock’s Vertigo.  Note how in sync Bass’ title sequence is with Bernard Herrmann’s beautiful score.  (All rights to the movie Vertigo are owned by Universal Pictures.)