Blackmail (1929) and Foreign Correspondent (1940)

Toronto Film Society presented Blackmail (1929) on Sunday, April 6, 2025 in a double bill with Foreign Correspondent (1940) as part of the Season 77 Series, Programme 6.

BLACKMAIL (1929)

Production Company: British International Pictures.  Director: Alfred Hitchcock.  Screenplay: Alfred Hitchcock, Benn W. Levy, Charles Bennett.  Producer: John Maxwell.  Cinematography: Jack E. Cox.  Editor: Emile de Ruelle.  Music: Jimmy Campbell and Reg Connelly, Hubert Bath and Harry Stafford (arrangements), Billy Mayerl (song: “Miss Up-to-Date”).  Release Date: July 28, 1929.   Running time: 85 minutes.

Cast: Anny Ondra (Alice White), John Longden (Detective Frank Webber), Sara Allgood (Mrs. White), Charles Paton (Mr. White), Donald Calthrop (Tracy), Cyril Richard (Mr. Crewe).

Blackmail follows the unfortunate circumstances that befall Alice White (Anny Ondra) after she ditches her work obsessed boyfriend, Scotland Yard detective Frank Webber, (John Longden) for predatory artist Mr. Crewe (Cyril Richard). In a period of under 24 hours, Alice murders Crewe in self defense following a rape attempt, Alice and Frank are blackmailed by a witness to the crime, Tracy (Donald Calthrop), and Tracy ends up as prime suspect in the murder. While Frank seizes an opportunity to frame Tracy, a criminal himself, Alice, wracked with guilt, plans to turn herself in to the police. In the end she doesn’t get the chance and the audience is left to assume Tracy is accepted by law enforcement to be Crewe’s killer.

Hitchock’s first “talkie”, Blackmail marked the beginning of sound film in England, though filming started as a silent picture. Although it wasn’t technically the first talking picture in the country, it was one of the few that could compete with those coming out of Hollywood. Hitchcock stated that he always anticipated Blackmail would become a sound film given the rapid movement toward talking pictures, and both silent and sound versions were released in theatres simultaneously.

During this transitional period for motion pictures, many theaters were not yet equipped to handle the technology to play sound films so the sound version played only in the few state-of-the art theaters that existed at the time. Ondra’s Czechoslovakian accent proved problematic when actors were given speaking parts as her character was a working-class Londoner.  English actress Joan Barry was hired to speak her dialogue off-camera while Ondra mimed the words. In 1937 when Hitchcock recounted viewing the rushes of the sound version of the film, he claimed to have been more excited by hearing Calthrop’s knife scraping the plate during breakfast than hearing the actors speak.

In Blackmail, the audience gets a taste of many of the stylistic elements and themes that appear repeatedly in the director’s later films including male sexual aggression and female vulnerability and/or guilt (Rebecca (1940), Notorious (1946), Vertigo (1958), Psycho (1960), The Birds (1963), Marnie (1964), and Frenzy (1972), a heroine entering a “fugue” state and subsequently moving through actions on autopilot (Murder! (1930), Sabotage (1936), Vertigo, and Psycho), characters breaking of the fourth wall (Rear Window (1954), Psycho), and, of course, the signature Hitchcock cameo.

There are several scenes that hint at the suspense-master Hitchcock would ultimately become: Alice’s siting of a sleeping homeless man’s arm prompting her to scream, which fades into Crewe’s neighbour screaming at the sight of his lifeless arm hanging off the bed in the same position. Another memorable moment is when Alice is being tormented over breakfast by a lady at her parent’s shop, saying “knife” repeatedly until it is the only word she can here as her shaky hand moves to cut some bread for her father. And, of course, the dramatic chase scene near the end of the film through the British Museum. Staging climactic sequences at famous landmarks is also one of the director’s conventions and in this instance, unbeknownst to the producers, he used the Schüfftan process to enhance picture quality which employs a mirror and prolonged lens exposure. This technique was famously utilized by Fritz Lang in Metropolis (1927) and allows for filming in low light. Throughout the film Hitchcock pans to Crewe’s portrait of the jester as a symbol of Alice’s guilty conscience.

Critically and commercially successful upon its release, Blackmail, along with his silent film The Lodger (1927), helped establish Hitchcock’s reputation as one of England’s top directors.

Notes by Kathleen McLarty

FOREIGN CORRESPONDENT (1940)

Production Company: Walter Wanger Productions.  Produced by: Walter Wanger.  Directed by: Alfred Hitchcock.  Screenplay: Charles Bennett, Joan Harrison, James Hilton (dialogue), Robert Benchley (dialogue).  Cinematography: Rudolph Maté, A.S.C..   Editing: Dorothy Spencer.  Music: Alfred Newman.  Released August 16, 1940.  Running time: 120 minutes.

Cast:  Joel McCrea (John Jones), Laraine Day (Carol Fisher), Herbert Marshall (Stephen Fisher), George Sanders (Scott ffolliott), Albert Basserman (Van Meer), Robert Benchley (Stebbins), Edmund Gwenn (Rowley).

Alfred Hitchcock’s Foreign Correspondent (1940) is a gripping thriller that masterfully blends espionage, political intrigue, and suspenseful storytelling. Released during a time of global uncertainty, the film not only entertained audiences but also served as a subtle call to action for American involvement in World War II. Through a carefully constructed narrative, Hitchcock delivers a film that is both a compelling spy adventure and a reflection of the era’s geopolitical tensions.

The story follows Johnny Jones, an ambitious crime reporter who is sent to Europe under the alias Huntley Haverstock to cover the escalating tensions before the outbreak of World War II. While on assignment, he witnesses what appears to be the assassination of Dutch diplomat Van Meer, a man holding crucial information about a secret peace treaty. However, Jones later discovers that Van Meer is still alive and has been kidnapped by Nazi agents who seek to extract vital information from him. With the help of Carol Fisher, the daughter of a peace organization leader, and fellow journalist Scott Ffolliott, Jones unravels a dangerous conspiracy.

The film was released in August 1940, just months after Germany invaded France. Hitchcock, who had already fled Britain for Hollywood, was deeply concerned with the war effort and used the film to subtly push for American intervention. Initially, the script featured a generic group of spies, but Hitchcock reworked it to include a more obvious Nazi presence, making the conflict feel more immediate.

Foreign Correspondent is more than a suspense thriller—it is a reflection of its time. Released a year before the U.S. entered World War II, the film subtly argues against American neutrality. The narrative underscores themes of espionage, political deception, and the importance of the free press in uncovering the truth.

The production also highlights the moral ambiguities of war, where trust is fragile and allegiances can shift at any moment. Through Johnny, the audience is placed in the shoes of an outsider, someone who initially approaches the conflict with skepticism but gradually realizes the gravity of the situation. His transformation from a reporter covering a story to an active participant in history mirrors Hitchcock’s message: the world could no longer afford to remain passive.

The film’s suspense builds through a series of unforgettable sequences, including a tense assassination in the rain, a chilling escape from a windmill hideout, and a breathtaking airplane crash that showcases Hitchcock’s expertise in visual storytelling. The climax, set aboard a doomed transatlantic flight, ends with a powerful radio broadcast in which Jones warns American audiences about the looming war, reinforcing the film’s subtle yet urgent message against isolationism.

The film was produced by Walter Wanger and distributed by United Artists. The screenplay, primarily written by Charles Bennett and Joan Harrison, went through multiple drafts, with contributions from James Hilton and Robert Benchley, the latter also appearing in the film in a small comic-relief role. The film was shot at various locations in California, with extensive use of miniatures and practical effects to create its large-scale set pieces, such as the windmill sequence and the dramatic airplane crash.

Hitchcock was keen on proving his ability to handle large-scale productions. To achieve a more authentic European feel, elaborate studio sets were built to replicate locations across England and the Netherlands. The production design and cinematography, led by Rudolph Maté, played a crucial role in crafting the film’s shadowy, suspenseful atmosphere.

As one of Hitchcock’s early Hollywood films, Foreign Correspondent showcases many of the elements that would define his career. The MacGuffin, a term Hitchcock popularized, is present in the form of Van Meer’s secret treaty—an object of great importance to the plot but ultimately secondary to the character-driven suspense. The film also features Hitchcock’s signature blend of wry humor, particularly through Scott Ffolliott’s quick wit, which lightens the tension without detracting from the stakes.

George Sanders’ character, Scott ffolliott, has an unusual double-lowered-case ff in his surname. This was a nod to certain British aristocratic names, adding to the film’s subtle class-based humor. Another notable sequence is the famous windmill scene, which was filmed on a meticulously constructed soundstage. Hitchcock insisted on full-sized rotating blades to create the proper shadow effect, which added significantly to the production’s complexity.

The cinematography is another highlight, with striking use of shadows, reflections, and confined spaces to heighten suspense. The windmill sequence, in which Jones uncovers Van Meer’s captors, is a masterclass in visual storytelling, utilizing movement and framing to create tension without excessive dialogue. The spectacular airplane crash sequence further cements Hitchcock’s ability to blend realism with thrilling spectacle, using groundbreaking special effects for its time. It was a stunning technical achievement that involved a combination of practical effects, models, and rear projection. The scene influenced later disaster films and remains one of Hitchcock’s most visually impressive moments.

Upon its release, it was met with critical acclaim, praised for its thrilling set pieces and timely message. It was nominated for multiple Academy Awards, including Best Picture, Best Supporting Actor (Albert Bassermann), Best Original Screenplay, Best Cinematography, and Best Special Effects. While it lost Best Picture to another Hitchcock classic, Rebecca (1940), the film solidified the director’s Hollywood reputation.

In hindsight, the film is recognized as one of Hitchcock’s most politically charged films. It not only set the stage for his later espionage thrillers, such as Saboteur (1942) and North by Northwest (1959), but also remains a compelling piece of wartime cinema. The film’s final moments, with Jones delivering a heartfelt plea over the radio as bombs fall on London, serve as a haunting reminder of the power of media in times of crisis.

Foreign Correspondent stands as a thrilling and thematically rich work that captures both the excitement of espionage and the urgency of a world on the brink of war. Hitchcock’s expert direction, combined with a gripping narrative and striking visuals, makes it an essential entry in the genre. More than just entertainment, the film serves as a historical document—one that reminds us of the importance of vigilance, truth, and action in the face of looming global threats.

Notes by Leandro Matos