An occasional series where I review a randomly selected movie directed by Alfred Hitchcock…
Spoiler warning: these reviews reveal plot twists.
Note: In the US, this film was released as East of Shanghai.
An English couple inherit some money so go on a round-the-world trip, but hit problems when they reach Singapore…
The ‘rich’ comes when – after a frustrating commute home to the suburbs from his City job – a middle-class man and his wife learn that his uncle is giving them a huge amount of money. The ‘strange’ is not so much that Fred (Henry Kendall) and Emily Hill (Joan Barry) decide to set off on a cruise to the Orient. It’s more that the film plays it all for laughs. This is Hitchcock directing a throwaway comedy.
When the humour works, the film does too. There aren’t many belly laughs but a few smiles are raised. Kendall and Barry indulge in some funny drunk acting, while Elsie Randolph plays a fellow tourist who gets several bits of comedy business. (The character is a middle-aged spinster. The actress was 27. Her second Hitchcock role came 41 years later in Frenzy.) Also, the prologue showing Fred’s tiresome journey home from work is a joy: dialogue-free and full of sight gags, it’s like something Charlie Chaplin would have shot.
In fact, at this point Hitchcock was only two years into working with sound and you wouldn’t say it was Rich and Strange’s strength. The score is too prominent and you soon tire of heavy-handed sound effects such as footsteps. Perhaps the director was already nostalgic for the silent era, hence the many sequences without dialogue. There are even expositionary title cards to push the plot along. But he was certainly keen on making the film look as modern as possible. As well as sending a camera crew off round the world to capture shots of some real locations – such as an elaborate and daring stage show at Paris’s Folies Bergère – he also built large sets of the ship back at Elstree Studios.
As entertainment, the film passes the time without ever really impressing you. A big problem is that it’s not especially *about* anything: it’s an extended comedy sketch with the loose appearance of a story. Hitchcock historian Noël Simsolo disagrees, once saying it’s an ‘almost tragic’ film because it deals with a childless couple idly filling their lives with frivolity. ‘They are empty,’ he purred. ‘They are sterile.’ In the same lecture, though, Simsolo also claimed that Dale Collins – the demonstrably real man whose story was adapted into the film – never existed. So what does he know?
Six games of deck tennis out of 10