Le rideau déchiré

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.

... have 'know' idea what they're talking about. It may not be Hitch's best movie, but 'watch at your own risk' is an utterly ridiculous appraisal of this movie. But yes, when discussing a Hitch movie, all the normal conventions of movie analysis fly straight out of the window; now it's time to take out the REALLY big magnifying glass. The nitpicking borders on the outrageous. The story is actually quite enjoyable, no more implausible than that of many of his other films, and contains the usual Hitchcockian set pieces and camera work. Whats not to love? Ya, Newman doesnt exactly carry around Jack Nicholson-like expressiveness; there may have been better actors up to the task, and the Old Woman scene feels strange and out of place not to mention over-acted, but even these cant bring the movie as a whole down. Seems like for years this film has the unlucky honor of being the scapegoat in the Hitchcock stable...unfortuanate, really. If you haven't already, see it for yourself, you wont be disappointed

On a conference visit to Scandinavia in 1965, an American scientist tells his assistant/fiancé that he must make an unscheduled visit to Sweden but refuses to allow her to accompany him. After a row, she decides to return to the U.S., but then discovers he actually plans to travel to East Germany. She follows him there and is horrified to discover that he plans to defect to the East.

In 'Torn Curtain' Hitchcock returns to one of his favourite areas - espionage. Yet somehow, as with 'Topaz' later, there is more fizzle than sizzle on display. It's hard to determine the problems, but certainly we know he wasn't thrilled with the studio-enforced casting of Andrews and Newman, and he admits to a few errors in judgement in his conversation with Truffaut, not least the dodgy 'backdrop' reel used during the bus chase. Curiously, whilst Hitchcock was crafting interesting, often strong-willed female characters during this period (Psycho, The Birds, Marnie, North By Northwest), with Andrews' Sarah Sherman he fashions a more passive woman, and consequently gives Andrews little to do but look either adoringly or woundedly at Newman. Newman fares better (although I never truly 'believe' Michael loves Sarah), but as usual Hitchcock fills the film with wonderful supporting characters and actors - Kedrova in particular blows the leads off the screen and her sequence is fantastic. So whilst 'Torn Curtain' is riddled with beautiful Hitchcock touches (the long shot of Michael approaching the farmer across the field; Gromek's very disturbing, prolonged murder - an electrifying performance by Conwell - the prima-ballerina's noticing of Michael in the audience), in the end it is one of his lesser works.

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!

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.