Der zerrissene Vorhang

Torn Curtain (1966)

Hitchcock was on an odd path in the 1960s toward more contained and artificial films, beginning in a way with North by Northwest (a masterpiece of control, for sure) but getting overtly stylized in Birds and Marnie. Here, in a bizarre casting choice, we replace the doubtfully capable Tippi Hedron with doubtfully appropriate Julie Andrews, fresh out of The Sound of Music. And of course, there is Paul Newman, who had recently filmed Harper and before that, Hud. A weird mix, and it has its moments. In fact, the chemistry between the two leads in the first scenes is surprising and you might expect or want more of that later on--and you won't get it.

Add to these actors a tense milieu from the time, Cold War defections and the atom bomb, and you have an intriguing basis for making a movie. You can see why he gave it a go. The plot, for what it's worth, is ultimately thin and not convincing (hints of Cloak and Dagger with Gary Cooper way back in 1946) but Newman, at least, pulls off his role as Dr. Armstrong, atomic scientist, with intense restraint. Andrews? She doesn't sing, and there are no children to be seen (except briefly, on Hitchcock's lap in his cameo!), and frankly, sadly, she comes off a little out of her element. But then, her character as Armstrong's assistant is also meant to be a bit out to sea. We don't see too much of her. We do see lots of various bit characters, little known and not very interesting men, mostly, with Swedish or German accents. (I say it that way because they are almost just cardboard props for types of people--you know, those cold hearted Stasi types or the cool and cunning Swedes you can't quite figure out, neither of which is especially true or helpful for the plot.)

Of course, Hitchcock doesn't intend to make this a Cold War commentary. (The Spy Who Came in from the Cold with Richard Burton the previous year is the film to see for that.) Hitchcock uses the East German scene as a backdrop for the suspense of deception, and of ordinary people trying not to get caught, a perennial theme he manages so well. Besides Newman, there is a fabulous small role by the great Soviet actress Lila Kedrova that brings the last half hour to life. In the middle of the movie there is one scene that's totally brilliant and wordless, with Newman and Carolyn Conwell in a farmhouse, and it's worth the ride alone. Don't miss that for the world.

This can't be Hitchcock's or Newman's or Andrews's best movie for a lot of reasons. But it's a very good movie, which is enough for most of us, and an essential for any Hitchcock fan, and a enlightening surprise for anyone who thinks they know Paul Newman and want to see yet more of his impressive range.

The first time I watched "Torn Curtain," I grew bored and turned it off before it was over. I've watched it in its entirety more than once since then. It's difficult not to conclude that the master director's age was beginning to take its toll by 1966. It could have been a great film except for some major flaws.

First, the main characters. Newman and Andrews look distinctly ill-at-ease and their acting is wooden. There is very nearly no chemistry between them, and viewers are not really drawn into their somewhat implausible situation. Both actors are compelling in other films, but for some reason not in this one.

Second, Hitchcock would have done better to keep his villains' identity less specific. In "The Lady Vanishes", "The Thirty-nine Steps," and "North by Northwest," the identity of the foreign agents is left deliberately vague and thus little plausibility need be attached to their actions. Here they are East German communists, of which we know rather a lot.

Third, there are inconsistencies in the plot. At one point Newman and Andrews are forced to go out into an open space to avoid being overheard. But in another scene a pro-western spy communicates confidential information to Newman in a hospital room, seemingly oblivious to the possibility of wiretaps.

Finally, there's John Addison's score, which seems to have been written quite independently of the film's action. A suspenseful scene is inappropriately matched with cheerful, melodic music. Everyone knows, of course, that Hitch's longtime musical collaborator, Bernard Herrmann, wrote a mostly complete score for the film, but the two had a falling out on the set and Herrmann was dismissed. Another example of poor judgement on Hitchcock's part. Herrmann's score would have immeasurably improved a mediocre film. (Look at "Obsession" nearly a decade later.) With all the recent film restorations, I would love to see someone redo "Torn Curtain" and put in as much of Herrmann's score as the composer was able to finish. (But perhaps there would be copyright problems.) Had Herrmann's score been used, the murder sequence in the farmhouse might have become as famous as the shower scene in "Psycho."

As I was watching the protagonists flee through the East German landscape in their efforts to reach the west, I found myself thinking that, if they had only waited another twenty-three years, the wall would have come down anyway and they could simply have walked out! That's how much their plight gripped me.

It may have sounded like a perfect commercial operation. Two huge box office stars, Paul Newman and Julie Andrews with Hitchcock no less, at the helm. Paul Newman and Julie Andrews have the sexual chemistry of two white slices of bread and Hitchcock didn't have Bernard Herrman at his side. In fact Hitch and Herrmann broke off their successful marriage during this production. Pity. I love Hitchcock. There is a detachment here never seen before in a Hitch flick. As if the master was tired or uninterested. Paul Newman seems in a hurry to get the hell out of there - no pun intended. Julie Andrews seems bewildered and whatever little she's ask to do it's way beneath her. Lila Kedrova comes as a welcome relief. I can't believe the ones who accused her of being over the top. Over the top? Of course she was over the top, brilliantly. I love actresses and actors who chew the scenery but are believable, moving, entertaining, hysterically funny...Bette Davis, Charles Laughton, Geraldine Page, Kim Stanley... Lila Kedrova chew the scenery but you didn't forget her and in "Torn Courtain" you were grateful for someone chewing something. I also enjoyed Tamara Toumanova in her funny self parody. Her spotting Newman at the theater was one of the highlights of this minor Hitchkock film.

It is bad to judge Hitchcock movies. Look at all the masterpieces the man has on his filmography list -- from the classic Secret Agent and 39 Steps to Rebecca and Lifeboat to Strangers on a Train and Psycho to The Birds and Marnie. The man NEVER had a BAD movie. Torn Curtain possesses all aspects of classic Hitchcock -- interesting locations, clever storyline, suspense, humor, stellar acting, stars, music, among other features. Perhaps this movie was criticized on pre-production. Julie Andrews was under contract and her shooting time was very limited. This posed a problem for Hitchcock who had to rush into production. Hitchcock also had a problem with his newly trained actor Paul Newman, who would always have it his way or the highway. Torn Curtain is highly supsenseful and on DVD is a gem. Presented in widescreen it also features the trailer, a documentary, and scenes with Bernard Herrmann's unused score. Thank god Herrmann didn't get the job to score this movie -- as much as Herrmann proved to be perfect for classics like Vertigo and Marnie (known as his best) -- he was way out of his league here. Torn Curtain was very ahead of it's time dealing with suspense, romance, and the Cold War. John Addison performed an excellent score fitting the movie well with the recurring theme that can either make you jump or cry. Andrews was excellent (good to see she can also do straight movies without music), as was Newman and the ensemble. See it on DVD. ****/*****

I'm not sure what made this Hitchcock thriller seem so different from his other classics. Maybe it was just simply odd to see Andrews in such a film. Maybe it was just simply odd to see Newman in such a film. Maybe it was the odd combination of Andrews and Newman together. I think it was all the above, however, it was still a very good movie.

Andrews did a superb job playing the completely confused, emotionally injured, and betrayed woman. Newman was good at playing the typical American man - silent and brooding when in a very concerning situation. They're characters were played in a very honest and realistic manner, especially the scene in the farmhouse, where you can see that Newman's character, being involved in a situation where a man needed to be 'silenced', was in shock and didn't quite know what to do. You could tell he was thinking it was all too surreal - and due to his incapacitation, the poor farm wife had to do most of the work. One may think 'What a pansy', but I don't believe that most men are created to be like a James Bond character, or a professional hit-man.

Lila Kedrova was wonderful, as usual. She didn't need a leading role to be effective or memorable. The character of the old professor was fantastic, especially in the scene at the chalk-board, LOL!!

I think this is a fine Hitchcock film that any Hitchcock lover shouldn't miss! It should have also received higher ratings!