53 Life and Death of Mr. Badman Sabon.Rtf

Total Page:16

File Type:pdf, Size:1020Kb

53 Life and Death of Mr. Badman Sabon.Rtf THE LIFE AND DEATH OF MR. BADMAN, PRESENTED TO THE WORLD IN A FAMILIAR DIALOGUE BETWEEN MR. WISEMAN AND MR. ATTENTIVE. BY JOHN BUNYAN Printed by J. A. for Nath. Ponder, at the Peacock in the Poultry, near the Church, 1680. ADVERTISEMENT BY THE EDITOR. The life of Badman is a very interesting among the most degraded classes of society. description, a true and lively portraiture, of the Swearing was formerly considered to be a habit demoralized classes of the trading community of gentility; but now it betrays the blackguard, in the reign of King Charles II; a subject which even when disguised in genteel attire. Those naturally led the author to use expressions dangerous diseases which are so surely engend- familiar among such persons, but which are ered by filth and uncleanness, he calls not by now either obsolete or considered as vulgar. In Latin but by their plain English names. In every fact it is the only work proceeding from the case, the Editor has not ventured to make the prolific pen and fertile imagination of Bunyan, slightest alteration; but has reprinted the whole in which he uses terms that, in this delicate and in the author’s plain and powerful language. refined age, may give offence. So, in the The life of Badman forms a third part to the venerable translation of the holy oracles, there Pilgrim’s Progress, not a delightful pilgrimage are some objectionable expressions, which, to heaven, but, on the contrary, a wretched although formerly used in the politest company, downward journey to the infernal realms. The now point to the age in which it was written. author’s object is to warn poor thoughtless The same ideas or facts would now be sinners, not with smooth words, to which they expressed by terms which could not give would take no heed; but to thunder upon their offence; and every reader must feel great consciences the peril of their souls, and the pleasure in the improvement of our language, as increasing wretchedness into which they were seen in the contrast between the two periods, madly hurrying. He who is in imminent, but and especially in the recollection that the facts unseen danger, will bless the warning voice if it might be stated with equal precision, and reach his ears, however rough and startling the reflections made with equal force, in terms at sound may be. which the most delicate mind could not be The life of Badman was written in an age offended. when profligacy, vice, and debauchery, Those who read the writings of Bunyan must marched like a desolating army through our feel continually reminded of his ardent land, headed by the king, and officered by his attachment to his Saviour, and his intense love polluted courtiers; led on with all the pomp and to the souls of sinners. He was as delicate in his splendour which royalty could display. The expressions as any writer of his age, who king and his ministers well knew that the most addressed the openly vicious and profane— formidable enemies to tyranny, oppression, and calling things by their most forcible and misgovernment, were the piety and stern popular appellations. A wilful untruth is, with morality of the Puritans, Nonconformists, and him, ‘a lie.’ To show the wickedness and the small classes of virtuous citizens of other extreme folly of swearing, he gives the words denominations; and therefore every effort was and imprecations then commonly in use; but made by allurements and intimidation to which, happily for us, we never hear, except debauch and demoralize their minds. Well does 2 THE WORKS OF JOHN BUNYAN Bunyan say that ‘wickedness like a flood is like in debauchery, and its ensuing miseries, are all to drown our English world. It has almost faithfully displayed. swallowed up all our youth, our middle age, old In the course of the narrative, a variety of age, and all are almost carried away of this awful examples of divine vengeance are flood. It reels to and fro like a drunkard, it is introduced; some from that singular compi- like to fall and rise no more.’ ‘It is the very lation, Clarke’s looking-glass for Saints and haunts and walks of the infernal spirits.’ Sinners; others from ‘Beard’s theatre of God’s ‘England shakes and makes me totter for its Judgments’ and many that happened under the transgressions.’ author’s own immediate knowledge. The The gradations of a wicked man in that evil faithfulness of his extracts from books has been age, from his cradle to his grave, are graphically fully verified. The awful death of Dorothy set before the reader; it is all drawn from Mately, of Ashover, in Derbyshire, mentioned, I reality, and not from efforts of imagination. had an opportunity of testing, by the aid of my Every example is a picture of some real kind friend, Thomas Bateman, Esq., of occurrence, either within the view of the Yolgrave. He sent me the following extract author, or from the narratives of credible from the Ashover Register for 1660:— witnesses. ‘All the things that here I discourse ‘Dorothy Mately, supposed wife to John Flint of, have been acted upon the stage of this of this parish, forswore herself; whereupon the world, even many times before mine eyes.’ ground opened, and she sunk over head, March Badman is represented as having had the very 23, and being found dead, she was buried, great advantage of pious parents, and a godly March 25.’ Thus fully confirming the facts, as master, but run riot in wickedness from his stated by Bunyan. Solemn providences, childhood. Lying and pilfering mark his early intended, in the inscrutable wisdom of God, for days; followed in after life by swearing, wise purposes, must not be always called cheating, drunkenness, hypocrisy, infidelity and ‘divine judgments.’ A ship is lost, and the good atheism. His conscience became hardened to with the bad, sink together; a missionary is that awful extent, that he had no bands in his murdered; a pious Malay is martyred; still no death. The career of wickedness has often been one can suppose that these are instances of so pictured, as to encourage and cherish vice divine vengeance. But when the atrocious and profanity—to excite the unregenerate mind bishop Bonner, in his old age, miserably ‘to ride post by other men’s sins.’1 Not so the perishes in prison, it reminds us of our Lord’s life of Badman. The ugly, wretched, miserable saying, ‘with what measure ye mete, it shall be consequences that assuredly follow a vicious measured to you again.’ career, are here displayed in biting words— Bunyan’s pictures, of which the life of alarming the conscience, and awfully warning Badman is a continued series, are admirably the sinner of his destiny, unless happily he finds painted from life. The extraordinary depths of that repentance that needeth not to be repented hypocrisy, used in gaining the affections of a of. No debauchee ever read the life of Badman pious wealthy young woman, and entrapping to gratify or increase his thirst for sin. The her into a marriage, are admirably drawn, as is tricks which in those days so generally accom- its companion or counterpart, when Badman, in panied trading, are unsparingly exposed; his widower-hood, suffers an infamous becoming bankrupt to make money, a species strumpet to inveigle him into a miserable of robbery, which ought to be punished as marriage, as he so richly deserved. The death- felony; double weights, too heavy for buying, bed scene of the pious broken-hearted Mrs. and light to sell by, overcharging those who Badman, is a masterpiece. In fact the whole is a take credit, and the taking advantage of the series of pictures drawn by a most admirable necessities of others, with the abuse of evil gains artist, and calculated to warn and attract the sinner from his downward course. 1 Reynolds’ preface to God’s Revenge against Murder. THE LIFE AND DEATH OF MR. BADMAN 3 In comparison with the times of Bunyan, folly and sin, ‘The devil rides him off his legs.’ England has now become wonderfully reformed ‘As the devil corrects vice,’ refers to those who from those grosser pollutions which disgraced pretend to correct bad habits by means her name. Persons of riper age, whose reminis- intended to promote them. ‘The devil is a cences go back to the times of the slave trade, cunning schoolmaster.’ Satan taking the wicked slavery, and war, will call to mind scenes of into his foul embraces is ‘like to like, as the vice, brutality, open debauchery and profligacy, devil said to the collier.’ which, in these peaceful and prosperous times, In two things the times have certainly would be instantly repressed and properly improved. Bunyan describes all ‘pawnbrokers’ punished. Should peace be preserved, domestic, to have been ‘vile wretches,’ and, in extortion, social, and national purity and happiness must the women to be worse than the men. Happily increase with still greater and more delightful for our days, good and even pious pawnbrokers rapidity. Civilization and Christianity will may be found, who are honourable exceptions triumph over despotism, vice, and false to Mr. Bunyan’s sweeping rule; nor do our religions, and the time be hastened on, in which women in any respect appear to be greater the divine art of rendering each other happy extortioners than our men. The instructions, will engross the attention of all mankind. Much exhortations, and scriptural precepts and yet remains to be done for the conversion of the examples to enforce honest dealing, inter- still numerous family connections of Mr.
Recommended publications
  • Notions of the Gothic in the Films of Alfred Hitchcock. CLARK, Dawn Karen
    Notions of the Gothic in the films of Alfred Hitchcock. CLARK, Dawn Karen. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/19471/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version CLARK, Dawn Karen. (2004). Notions of the Gothic in the films of Alfred Hitchcock. Masters, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus Sheffield S1 1WB Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE ProQuest Number: 10694352 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10694352 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Notions of the Gothic in the Films of Alfred Hitchcock Dawn Karen Clark A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Master of Philosophy July 2004 Abstract The films of Alfred Hitchcock were made within the confines of the commercial film industries in Britain and the USA and related to popular cultural traditions such as the thriller and the spy story.
    [Show full text]
  • The Blackguard
    THE BLACKGUARD GRAHAM CUTTS, GREAT BRITAIN/GERMANY, 1925 Screening: Sunday 22nd April, 9am Studios during and after the Second CAST World War – had encouraged Hitchcock to study the production methods of UFA, and, in an attempt to capitalise upon the Jane Novak ... European market, Balcon sent Cutts and Hitchcock to Berlin for the production of Prinzessin Maria The Blackguard. Cutts – the director re- Idourska / Princess Ma- sponsible for the BBFC-baiting Cocaine rie Idourska (1922) screened as part of Friday’s ‘What Walter Rilla ... The Silent Censor Saw’ presentation – had collaborated with Hitchcock on a Michael Caviol, The number of occasions. The Blackguard rep- Blackguard resents Hitchcock’s last role as art direc- Image courtesy of bfi Stills, Posters and tor, but he had previously work under Frank Stanmore ... Designs Graham Cutts in that role on four occa- Pompouard sions: Woman to Woman (1923), The White Shadow (1924), The Prude’s Fall (1924) and Bernhard Goetzke ... Graham Cutts’ 1925 film, The Black- The Passionate Adventure (1924). The Black- guard, precedes probably his most fa- guard, however, is the first instance of a Adrian Levinsky mous work, the Ivor Novello vehicle The Gainsborough film being shot abroad, and Rat, by one year, and is notable for Al- was budgeted at considerable expense for fred Hitchcock’s significant contribution the time. It was released in multilingual – he fulfilled the role of scenarist by versions, being retitled Die Prinzessin und adapting the original Raymond Paton der Geiger for the German market. novel for the silver screen, and also con- tributed his considerable talents to the Based on the 1917 Raymond Paton novel art direction of the film, while being re- of the same name, The Blackguard’s plot is sponsible for some second-unit photog- a melodrama set during the Russian Revo- raphy.
    [Show full text]
  • Timeline London's Hollywood: the Gainsborough
    Timeline / London’s Hollywood: The Gainsborough Studio in the Silent Years 1 Timeline London’s Hollywood: The Gainsborough Studio in the Silent Years 1919 4/1919 Formation of Famous Players Lasky British Producers Limited 7/1919 Arrival of Albert A. Kaufman (production supervisor) Arrival of Richard Murphy (scenic artist) and others 8/1919 Arrival of Eve Unsell (head of scenario) 10/1919 Purchase of lease on building to be converted into studio 11/1919 Arrival of Milton Hoffman (general manager) 1920 2/1920 Appointment of Mde Langfier in Paris to run wardrobe department 3/1920 Arrival of Adolph Zukor 4/1920 Arrival of director Hugh Ford 5/1920 Opening of the studio 5/1920 Filming of The Great Day (May-June) 5/1920 Major Bell promoted to studio manager 6/1920 Arrival of Jesse Lasky 7/1920 Major Bell to America for three months 8/1920 Appointment of Robert James Cullen as assistant director 8/1920 Filming of The Call of Youth (August - September) 9/1920 Filming exteriors of The Call of Youth in Devon 9/1920 Eve Unsell returns to America 9/1920 Arrival of Margaret Turnbull, Roswell Dague (Scenarists) & Robert MacAlarney (General Production Manager) 10/1920 Arrival of Major Bell & director Donald Crisp 10/1920 Milton Hoffman returns to America 10/1920 Major Bell appoints James Sloan (Assistant Manager) 10/1920 Filming Appearances (October - December) 10/1920 Arrival of Paul Powell 11/1920 Trade Show The Great Day Trade Show The Call of Youth 12/1920 Filming The Mystery Road (December – May) Exteriors on the Riviera (December -February) Interiors
    [Show full text]
  • Alfred Hitchcock
    Suhrkamp BasisBiographien 43 Alfred Hitchcock Bearbeitet von Thilo Wydra 1. Auflage 2010. Taschenbuch. 160 S. Paperback ISBN 978 3 518 18243 7 Format (B x L): 11,8 x 18,9 cm Gewicht: 192 g Weitere Fachgebiete > Musik, Darstellende Künste, Film > Filmwissenschaft, Fernsehen, Radio schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Suhrkamp Verlag Leseprobe Wydra, Thilo Alfred Hitchcock © Suhrkamp Verlag Suhrkamp BasisBiographien 43 978-3-518-18243-7 Suhrkamp BasisBiographie 43 Alfred Hitchcock Leben Werk Wirkung Werk Leben Thilo Wydra, 1968 in Wiesbaden geboren, studierte Kom­ paratistik, Germanistik, Kunstgeschichte und Filmwissen­ schaft in Mainz und Dijon (Burgund). Seit 1998 lebt und arbeitet er als freier Autor und Publizist (Der Tagesspie- gel, Filmecho/Filmwoche, BR-online/KinoKino u. a.) über­ wiegend in München. Seit Ende 2004 ist er Deutschland­ Korrespondent der Filmfestspiele von Cannes. Zu seinen Buchpublikationen zählen unter anderem Volker Schlön- dorff und seine Filme (München, 1998), Margarethe von Trotta – Filmen, um zu überleben (Berlin, 2000), Rosen- straße – Die Geschichte. Die Hintergründe. Die Regisseu- rin (Berlin, 2003) sowie die Suhrkamp BasisBiographie Romy Schneider (Frankfurt, 2008). Alfred Hitchcock Suhrkamp BasisBiographie von Thilo Wydra In memoriam Dezember 1993 Suhrkamp BasisBiographie 43 Erste Auflage 2010Originalausgabe © Suhrkamp Verlag Berlin 2010 Alle Rechte vorbehalten, insbesondere das der Übersetzung, des öffent- lichen Vortrags sowie der Übertragung durch Rundfunk und Fernsehen, auch einzelner Teile.
    [Show full text]
  • Simply-Hitchcock-1587911892. Print
    Simply Hitchcock Simply Hitchcock DAVID STERRITT SIMPLY CHARLY NEW YORK Copyright © 2017 by David Sterritt Cover Illustration by Vladymyr Lukash Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-17-9 Brought to you by http://simplycharly.com Dedicated to Mikita, Jeremy and Tanya, Craig and Kim, and Oliver, of course Contents Praise for Simply Hitchcock ix Other Great Lives xiii Series Editor's Foreword xiv Preface xv Acknowledgements xix 1. Hitch 1 2. Silents Are Golden 21 3. Talkies, Theatricality, and the Low Ebb 37 4. The Classic Thriller Sextet 49 5. Hollywood 61 6. The Fabulous 1950s 96 7. From Psycho to Family Plot 123 8. Epilogue 145 End Notes 147 Suggested Reading 164 About the Author 167 A Word from the Publisher 168 Praise for Simply Hitchcock “With his customary style and brilliance, David Sterritt neatly unpacks Hitchcock’s long career with a sympathetic but sharply observant eye. As one of the cinema’s most perceptive critics, Sterritt is uniquely qualified to write this concise and compact volume, which is the best quick overview of Hitchcock’s work to date—written with both the cineaste and the general reader in mind.
    [Show full text]
  • Hitchcock's Motifs 2005
    Repositorium für die Medienwissenschaft Michael Walker Hitchcock's Motifs 2005 https://doi.org/10.25969/mediarep/4105 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Walker, Michael: Hitchcock's Motifs. Amsterdam: Amsterdam University Press 2005 (Film Culture in Transition). DOI: https://doi.org/10.25969/mediarep/4105. Erstmalig hier erschienen / Initial publication here: http://library.oapen.org/handle/20.500.12657/35146 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0/ Lizenz zur Verfügung Attribution - Non Commercial 3.0/ License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ * pb ‘Hitchcock’ 09-09-2005 13:17 Pagina 1 Among the abundant Alfred Hitchcock litera- ture, Hitchcock’s Motifs has found a fresh angle. Starting from recurring objects, settings, char- MOTIFS MICHAEL WALKER HITCHCOCK’S acter-types and events, Michael Walker tracks FILM FILM some forty motifs, themes and clusters across the whole of Hitchcock’s work, including not CULTURE CULTURE only all his 52 extant feature films but also IN TRANSITION IN TRANSITION representative episodes from his TV series. Con- nections and deeper inflections that Hitchcock fans may have long sensed or suspected can now be seen for what they are: an intricately spun web of cross-references which gives this Hitchcock’sHitchcock’s unique artist’s work the depth, consistency and resonance that justifies Hitchcock’s place as probably the best known film director ever.
    [Show full text]
  • Ealing Studios and the Ealing Comedies: the Tip of the Iceberg
    Ealing Studios and the Ealing Comedies: the Tip of the Iceberg ROBERT WINTER* In lecture form this paper was illustrated with video clips from Ealing films. These are noted below in boxes in the text. My subject is the legendary Ealing Studios comedies. But the comedies were only the tip of the iceberg. To show this I will give a sketch of the film industry leading to Ealing' s success, and of the part played by Sir Michael Balcon over 25 years.! Today, by touching a button or flicking a switch, we can see our values, styles, misdemeanours, the romance of the past and present-and, with imagination, a vision of the" future. Now, there are new technologies, of morphing, foreground overlays, computerised sets, electronic models. These technologies affect enormously our ability to give currency to our creative impulses and credibility to what we do. They change the way films can be produced and, importantly, they change the level of costs for production. During the early 'talkie' period there many artistic and technical difficulties. For example, artists had to use deep pan make-up to' compensate for the high levels of carbon arc lighting required by lower film speeds. The camera had to be put into a soundproof booth when shooting back projection for car travelling sequences. * Robert Winter has been associated with the film and television industries since he appeared in three Gracie Fields films in the mid-1930s. He joined Ealing Studios as an associate editor in 1942 and worked there on more than twenty features. After working with other studios he became a founding member of Yorkshire Television in 1967.
    [Show full text]
  • The Representation of Disability in the Music of Alfred Hitchcock Films John T
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 The Representation of Disability in the Music of Alfred Hitchcock Films John T. Dunn Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Dunn, John T., "The Representation of Disability in the Music of Alfred Hitchcock Films" (2016). LSU Doctoral Dissertations. 758. https://digitalcommons.lsu.edu/gradschool_dissertations/758 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE REPRESENTATION OF DISABILITY IN THE MUSIC OF ALFRED HITCHCOCK FILMS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John Timothy Dunn B.M., The Louisiana Scholars’ College at Northwestern State University, 1999 M.M., The University of North Texas, 2002 May 2016 Acknowledgements I would like to thank my family, especially my wife, Sara, and my parents, Tim and Elaine, for giving me the emotional, physical, and mental fortitude to become a student again after a pause of ten years. I also must acknowledge the family, friends, and colleagues who endured my crazy schedule, hours on the road, and elevated stress levels during the completion of this degree.
    [Show full text]
  • Alfred Hitchcock: Filming Our Fears
    Alfred Hitchcock: Filming Our Fears Gene Adair OXFORD UNIVERSITY PRESS Alfred Hitchcock Filming Our Fears Image Not Available Alfred Hitchcock Filming Our Fears Gene Adair 1 To my mother and the memory of my father 1 Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto and an associated company in Berlin Copyright © 2002 by Gene Adair Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Design: Greg Wozney Layout: Lynn Serra Picture Research: Lisa Barnett Library of Congress Cataloging-in-Publication Data Adair, Gene. Alfred Hitchcock : filming our fears / Gene Adair. v. cm. Includes bibliographical references and index. Contents: 1. The grocer's son from Leytonstone -- 2. A filmmaker's apprenticeship -- 3. From silents to sound -- 4. Highs and lows -- 5. England's leading film director -- 6. America calling -- 7. An Englishman in Hollywood -- 8. The war years and beyond -- 9. Gaining independence -- 10. A new contract with Paramount -- 11. Three masterpieces -- 12. A new home at Universal -- 13. Last years and legacy. ISBN 0-19-511967-3 (alk. paper) 1. Hitchcock, Alfred, 1899- 2. Motion picture producers and directors--Great Britain--Biography.
    [Show full text]
  • Taking Place As Part of the BFI's Blockbuster Summer Project, The
    THE GENIUS OF HITCHCOCK AT BFI SOUTHBANK - A full retrospective of Alfred Hitchcock’s surviving feature films - - Special events including Tippi Hedren (star of The Birds) and Bruce Dern (Marnie) on stage interviews London, Tuesday 17th April 2012 As part of the BFI’s blockbuster Genius of Hitchcock project, BFI Southbank will celebrate the Master of Suspense with a complete retrospective of the director’s surviving feature films from August to mid-October 2012, in partnership with American Express and with special thanks to Sky Movies/HD. Over the course of almost three months, Hitchcock’s surviving body of work as director will be presented in its entirety. The films will be grouped together in themed ‘steps’ that reflect the BFI’s upcoming publication and digital offering, “39 Steps to The Genius of Hitchcock” and help increase our understanding of this complex and fascinating director. Full film listings in notes to editors. There will also be opportunities for audiences to see the newly restored The Lodger (1926), following its premiere screening at the Barbican, as it will enjoy an extended run throughout August. One of the cinema’s most acclaimed thrillers, Vertigo (1958), will also be on extended run in September. Principal funding for the restoration of The Lodger was provided by The Hollywood Foreign Press Association and The Film Foundation. Some very special events will accompany the retrospective. Alongside guest introductions to screenings and panel discussions there will be on stage interviews with people who have worked with Hitchcock including Tippi Hedren (The Birds, 1963), soon to be portrayed by Sienna Miller in the BBC’s forthcoming drama The Girl and Bruce Dern (Marnie, 1964) as well as a lecture by America's renowned cultural critic Camille Paglia on the recurring theme of beauty within his films.
    [Show full text]
  • The Thirteen Lives of Alfred Hitchcock
    CHAPTER 1 The Thirteen Lives of Alfred Hitchcock Alfred Joseph Hitchcock was born in London on the 13th August, 1899. The son of a poultry monger, his early life was spent in North London, and he was educated at Saint Ignatius' College, a Jesuit school, until his declared interest in engineering induced his parents to send him to the School of Engineering and Navigation . Eventually he went to viork for the Henley Telegraph Company, taking evening classesin art and moving to the advertising department. From the age of 16 he had been sufficiently fascinated by the cin~ma to read, 'not just film and fan papers, but the professional and trade journals '. He remembers the impact made on him by American pictures rather than British , and recalls in particular Griffith , Murnau and Fritz Lang's De, Mude Tod (Destiny). In 1920 he heard that Paramount-Famous Players-Lasky were opening an Islington Branch and submitted sub-title cartoons for a novel on which they were working . Thus he embarked on the first phase of his career, comprising initially graphic and then also editorial work (including rewriting of sub-titles) on the silent films listed in the filmography . He designed, or rewrote, the titles for such silent films as Call of Youth and The Great Day (Hugh Ford , 1921), The Princess of New York and Tell Your Children (Donald Crisp, 1921) and Three Live Ghosts (George Fitzmaurice, 1922). His first producing-directing initiative occurred when, in 1921, he embarked, in association with the actressClare Greet, on a film whose subject was the ordinary people of London .
    [Show full text]
  • The 39 Steps (1935)
    Conversations about great films with Diane Christian & Bruce Jackson ALFRED HITCHCOCK (13 August 1899, London—29 April 1980, Los Angeles, liver failure and heart problems) was nominated for 5 best director Academy Awards (Psycho 1960, Rear Window 1954, Spellbound 1945, Lifeboat 1944, Rebecca 1940) and one best picture Academy Award (Suspicion 1941) but the only one he ever got was the Thalberg Award in 1980. That was a very good year for him: he also received a Legion of Honor from the French government and a knighthood from the queen. Directors Eric Rohmer and Claude Chabrol wrote of him, “Hitchcock is one of the greatest inventors of form in the history of cinema. Perhaps the only filmmakers who can be compared with him in this respect are Murnau and Eisenstein. Here, form does not merely embellish content, but actually creates it.” François Truffaut wrote that Hitchcock had “a unique ability to film the thoughts of his characters and make them THE 39 STEPS (1935). 86 min perceptible without resorting to dialogue,” and that he was “almost unique in Directed by Alfred Hitchcock being able to film directly, that is, without resorting to explanatory dialogue, Based on the novel by John Buchan such intimate emotions as suspicion, jealousy, desire, and envy.” Critic Adaptation by Charles Bennett Andrew Sarris wrote, “What has been most disturbing in Hitchcock’s Dialogue by Ian Hay films–the perverse ironies, the unresolved ambiguities, the switched Produced by Michael Balcon and Ivor Montagu protagonists–now marks him as a pioneer in the modern idiom in which Cinematography by Bernard Knowles nothing is what it seems on the surface.” Hitchcock left nothing to chance, not Film Editing by Derek N.
    [Show full text]