Hitchcock often said: "Hitchcock doesn't need to be Kirk... this is just a movie."
This highlights Hitchcock's great wisdom. Hitchcock’s early films have a kind of humanistic affection, which is completely different from the images shot in Hollywood. The suspense of the early films did not take up the main body, but was just a side dish to match, and the British literary style was full. This can be seen from the films such as "Young Girl", "Strange Rich Man" and "Face Game". One thing is the same, that is, Hitchcock has always liked to play with the characters in the palm of the hand, making them painful, but also making them cry. In the end, it will always turn around and it will happen naturally.
"The Young Girl" is still a crime-solving film, but the main body is the wronged person. With the help of the kind girl, the grievance is finally redressed. The girl's father is the chief of police, which implies a helpless reality. The same goes for "Thirty-Nine Steps". When I watched this film in 1981, I was very nervous. At that time, I felt that the Japanese film "The Manhunt" I watched in early 1979 had a similar situation or a continuity. "Strange Rich Man" is even better. The only suspense is how long the young rich man can interpret the "rich man". After being tempted, deceived and persecuted, the couple will finally carry on their love to the end. This kind of love is not necessarily rare, but it is precious.
Life always has to face all kinds of temptations from right and wrong, depending on how you respond and face it. "Face Game" is reminiscent of the current reality in China. With demolition and expropriation, people and developers will never stand side by side. It seems to be a dispute over the amount of interest, but in fact it implies power and corruption. Even among developers, for a piece of land, they have to try their best to harm each other, and in the end, they may lose out. "Face Game" 80 years ago, Hitchcock gave us a good example, which is worth thinking about. It seems that it is time to study Capital.
2010, July, 12
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