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Rich and Strange
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Directed by Alfred Hitchcock
This atypical Alfred Hitchcock effort is a cautionary fable which lends credence to the old saw "Love flies out the door when money flies in the window." Joan Barry and Henry Kendall play a young married couple who suddenly come into an inheritance. Bored with their working-class existence, hero and heroine embark upon a world cruise, and it isn't long before Barry gets romantically involved with a landed-gentry gentleman. Meanwhile, Kendall is swept off his feet by a phony princess, who tricks him out of all his money. Broke and miserable, Barry and Kendall head home on a shabby cargo boat, only to find themselves in the middle of a shipwreck. The couple is rescued by a Chinese junk, where the solemn crew members dine on their pet cat. By the time Barry and Kendall have returned to their humble suburban lodgings, they've both learned the sagacity of remaining in their own back yard. Partly a sophisticated sex comedy, partly a grim seafaring melodrama, Rich and Strange had the negative effect of confusing the public in general and Hitchcock's fans in particular, and as a result the film, which remains one of Hitch's best early talkies, died at the box office. ~ Hal Erickson, All Movie Guide
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BeetJuiceBeetJuice Rich and Strange
by BeetJuice in BeetJuice Blog
is neutral about it.
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"This is not your typical Hitchcock film. It is lighthearted, comedic, and involves no police drama or mystery. Fred (Henry Kendall) and Emily (Joan Barry) Hill are a regular English couple living in boredom in London during the Depression. The film opens with an extended shot of the workday coming to an end and Londoners crowding into the underground, utilizing silent era techniques similiar to those of Charlie Chaplin for clever humorous effect. Gradually the scenes narrow to focus on F " [More]
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OvationOvation Peter Bogdanovich Interviews Al ...
by Ovation in Alfred Hitchcock
"Peter Bogdanovich Interviews Alfred Hitchcock The legendary interview from 1963 PB: You never watch your films with an audience. Don't you miss hearing them scream? AH: No. I can hear them when I'm making the picture. Do you feel that the American film remains the most vital cinema? Worldwide, yes. Because when we make films for the United States, we are automatically making them for all the world--because America is full " [More]
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Review by All Movie Guide
All Movie Guide
is neutral about it.
Rich and Strange is an off-beat and interesting, if not totally successful, film. Clearly, devotees of Alfred Hitchcock will take to it more than average filmgoers; the latter will probably be disappointed to discover that it is not a thriller, as they might expect from the "master." But if they can get over this disappointment, they will find much to appreciate, including a story that doesn't go exactly where one expects and an odd mixture of the comic and the melodramatic. True, Hitchcock doesn't blend these two styles seamlessly, but that helps to give the film its unique impact. The film is schizophrenic in other ways, especially in its attempt to be both a silent film and a talkie, and this can be disconcerting; but it does allow the director to take advantage of the fluidity of the silent camera. (He also has a delightful time experimenting with a few new effects, such as making the words on a dinner menu fly off the page.) And the opening commuter sequence is a gem. Henry Kendall and Joan Barry are a bit wan as the leads; she in particular has a peculiar delivery, and he has several moments that grate, but they overall they are adequate. Much better are Betty Amann as the gold digging princess and the wonderful Elsie Randolph, whose old lady is both annoying and strangely endearing. If the various components of Rich and Strange never really coalesce, the film is still intriguing and enjoyable. ~ Craig Butler, All Movie Guide
 

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wyrdsister
wyrdsister
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BeetJuice
BeetJuice
is neutral about it.
krishkmenon
krishkmenon
is neutral about it.
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minerwerks
lost interest.
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downending
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triage685
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