Hitchcock's only previous attempt at a Hollywood comedy was the unexceptional "Mr and Mrs Smith" in the early 40's and even that came from a studio assignment rather than an original motivation. Here, with the engagement of Hitchcock at the height of his powers, you might guess this one plays a bit differently. Chock-full of (no pun intended) earthy, sometimes racy humour, this is a black comedy set, paradoxically in the beautiful autumnal hues of New England, with a non-starring cast of noticeable variety, from fresh newcomer Shirley MacLaine to the avuncular veteran Edmund Gwenn, not the first names you'd think of to appear in an eccentric piece like this.
Also on hand are a pre-"Dynasty" John Forsythe as the reasoning artist Sam and Mildred Natwick as the school-marmy spinster to complete the principal foursome who themselves get into an Abba-type arrangement as they pair off together, thwarted only it would appear by the inconsiderate corpse of MacLaine's unloved, estranged husband which keeps making unwanted appearances to spoil their mutual billing and cooing.
I can see how the movie might split Hitchcock's fan-base as there's little of his trademark excitement or tension on show, but that's not to say other of his traits aren't present, from the stunning cinematography of Robert Burks, a playful soundtrack by Bernard Herrman in his first collaboration with The Master and some typically imaginative shots to admire, probably none more so than the first shot of Harry's prostrate body, from the shoes up.
The ensemble acting is crisply played and I personally don't get the critics of Miss MacLaine harping on about her gaucheness, as she seems perfectly natural to me in what must have been a rather unusual introduction to movie-making in Hollywood.
I admire Hitchcock for taking the risk he did with this off-beat feature and strongly consider he pulled it off with aplomb. A change, after all, is as good as a cardiac arrest as I always say.
Also on hand are a pre-"Dynasty" John Forsythe as the reasoning artist Sam and Mildred Natwick as the school-marmy spinster to complete the principal foursome who themselves get into an Abba-type arrangement as they pair off together, thwarted only it would appear by the inconsiderate corpse of MacLaine's unloved, estranged husband which keeps making unwanted appearances to spoil their mutual billing and cooing.
I can see how the movie might split Hitchcock's fan-base as there's little of his trademark excitement or tension on show, but that's not to say other of his traits aren't present, from the stunning cinematography of Robert Burks, a playful soundtrack by Bernard Herrman in his first collaboration with The Master and some typically imaginative shots to admire, probably none more so than the first shot of Harry's prostrate body, from the shoes up.
The ensemble acting is crisply played and I personally don't get the critics of Miss MacLaine harping on about her gaucheness, as she seems perfectly natural to me in what must have been a rather unusual introduction to movie-making in Hollywood.
I admire Hitchcock for taking the risk he did with this off-beat feature and strongly consider he pulled it off with aplomb. A change, after all, is as good as a cardiac arrest as I always say.