An occasional series where I review a randomly selected movie directed by Alfred Hitchcock…
Spoiler warning: these reviews reveal plot twists.
A woman tries to move on from a disastrous relationship, but her past catches up with her…
A silent film based on a play by Noel Coward is obviously going to be missing the rather important element of his witty dialogue. So while Easy Virtue may have title cards, it’s actually Alfred Hitchcock’s visual invention where the real interest lies. An early courtroom scene, for example, features the joyfully brilliant moment when a judge raises a monocle to his eye to look at one of the barristers. The shot is from the judge’s point of view, so we see the monocle rise in the frame, magnifying what’s behind it. There are a few other clever shots dotted around too; later, we also get some location filming in the South of France.
The plot follows Larita Filton (Isabel Jeans), who divorces her boorish husband after a tragic incident in which a painter was killed over a misunderstanding. Fleeing to the French Riviera and changing her name, she meets a man called John Whittaker (Robin Irvine), falls in love and returns with him to England. But Larita constantly fears that her murky past will be discovered – especially when she meets John’s frosty mother, who recognises her from *somewhere*.
In many ways, all this is a strange precursor of Hitchcock’s later film Rebecca. That 1940 gem also features a nervous woman in the south of France who meets and falls for an Englishmen but then faces resentment when she goes home with him. Both movies also change tack when there’s a key revelation. In Easy Virtue, the shift comes when Larita’s secret is rumbled – an old photo of her appears in a newspaper and John’s friends and family learn who she is. But sadly the drama is nowhere near as gripping.
The marriage quickly peters out, as does the film. Larita leaves, but not before telling John’s ex-girlfriend Sarah (Enid Stamp Taylor) that *she* should have married him instead. The moment is tender and almost Sapphic but also – like a lot of this film – quite melodramatic.
Five men walking past a tennis court (possibly: there’s doubt over whether it’s actually Alfred Hitchcock) out of 10
NOTE: Easy Virtue was lost was about half a century before a print was discovered in Austria in the 1970s. Nevertheless, it’s still not in a great shape archivally speaking. The copy I watched for this review was a terribly damaged, shaky and tatty video on YouTube. When the BFI attempted to resurrect the movie as part of a restoration project in 2012, they hit several problems – as detailed in the following press release: ‘[The film] survives only in a number of more or less identical 16mm projection prints, all in very poor quality and considerably abridged. The original running time of the film at 7390 feet – amounted to approximately 94 minutes depending on running speed. What survives is equivalent to 5434 feet a mere 69 minutes. We don’t know if a major section is missing or if (more likely) there were dozens, perhaps hundreds, of little trims. We hoped at the beginning of the project that more or better material would turn up, but this has proved elusive. We will of course continue to search. The international search for this Easy Virtue has brought in prints from the US, Australia and the Netherlands as well as the UK. Unfortunately, all the existing copies are 16mm prints that have been much projected, resulting in surface wear and tear. All the copies derive from the same source and contain the same printed-in damage. The biggest problem is the underlying picture quality which, thanks to much duplication, is lacking in resolution. Working from such limited material, the best that we can do is to minimise scratches and damage and remake the intertitles. We have chosen the best source and replaced several shots from a second print where they helped to improve quality. All the main titles and intertitles were reconstructed using the original fonts, as in the other Hitchcock restorations.’