Rich and Strange

Yes, Joan Barry - what a beautiful woman! That however isn't the only reason to watch this fabulous film. It's got a wickedly irreverent and genuinely funny sense humour throughout. Its story is thoroughly engaging and for 1932 it's remarkably well made.

The first five minutes is a montage of dreary office life in 1930s London - a superb homage to King Vidor's THE CROWD. This establishes the setting of a bored suburban young couple in want of excitement. Then they get it and to quote the old adage: be careful what you wish for because it might come true!

This is so different to most films of this period, certainly compared with American films in terms of story. Possibly because The Depression was so much worse in America, Hollywood pictures tended to be either uplifting aspirational stories or preachy sermons warning of the perils of ambition. In England, life in the 1930s was for most, actually a little better than it was in the 1920s so this picture isn't reacting to the shock of The Depression. In typical English style, this just laughs at those who think they're better than they are. At the time however it was seen as a little bit too cruel and unsympathetic which really harmed its box office appeal.

What makes this so enjoyable today (besides Joan Barry, whom I might have mentioned a few times is gorgeous!) is its glimpse into the life of normal, everyday people in 1932 and how remarkably similar it was to today - except for the weird accents of course! If however it was just a brilliant time capsule it would be interesting but because this is so well made, so naturalistically acted and filmed and edited with such energy it's thoroughly entertaining. Unlike a lot of early thirties pictures, it's not stagey, stationary or slow and the screenplay by Mr and Mrs Hitchcock, basing the characters a little on themselves makes Fred and Emily feel very real and genuine.

Although ultimately the truth that money doesn't buy you happiness is revealed, it's a warm, witty and charming film. It has a refreshingly different vibe to American films of the time with its topless showgirl, it's explicit adultery and disregard for received morality. It's quintessentially English, quaintly 1930s but somehow also feels quite modern......and Joan Barry is lovely!

This change-of-pace from Hitchcock is quite an interesting film, often pleasantly witty and at other times a bit unsettling in its observations on human nature. It won't appeal to those looking for Hitchcock-style suspense (although there is one such sequence), but it is worth watching for some other reasons.

The story is about Fred and Emily Hill, an average couple living a routine middle class life. The opening sequence, which is very nicely done using many of Hitchcock's silent film skills, immediately makes you feel the boredom and shallowness of Fred's world, while being amusing as well. Suddenly Fred receives word that a rich relative is giving him a large sum of money so that he can see the world, and the Hills are off on an extended trip to several foreign countries. The substance of the movie is in the ways that their new-found wealth and the many unfamiliar environments affect them and their marriage. Their new world is one of a couple of possible meanings of the title "Rich and Strange", in addition to the Shakespeare allusion.

The cast is very small, and consists of actors little known today, but they are generally good and make their characters believable. As the Hills encounter hazards, temptations, and adventure, the question is whether they have really changed or learned anything from their experiences - the amusing last scene gives one possible answer, and along the way there are a lot of other subtle points.

While not at all like Hitchcock's more famous films, in a different sense it is all Hitchcock - a distinctive movie, and carefully crafted. While only a minor effort among his many masterpieces, it is still worth a look for those who enjoy older comedies.

Before becoming the master of suspense, Alfred Hitchcock made this odd little romantic comedy that's a bit biographical. Fred Hill (Could be short for Alfred H.) and his wife Emily depart their dreary middle class life to go on a world cruise via a rich uncle. Fred gets mixed up with a sexy con artist while Emily courts a rich older man. There are a ton of Hitchcock touches (Fred is to meet the con artist in room 22. All around are references to the number 22. Fred and Em argue about each other's affairs while a Salvation Army band plays across the street, and in a truly exciting sequence, Fred and Em's ship begins to sink. The camera never leaves their stateroom (Shades of the camera never leaving the crashing plane in "Foreign Correspondent") An unusual, sometime entertaining work. A must for Hitchcock fans. Others just looking for a scary Hitchcock film to rent should go with a more familiar title

This 1931 movie is of interest simply because it is one of Alfred Hitchcock's early films that he made in Great Britain. It is also of interest because of the titles between sections of this film as though it were a silent film. That makes us very aware that silent movies had just been replace by 'talkies'. The copyright date is shown as 1931 on the film, not 1932 as IMDB has it listed. A man whose life has become mundane and tiresome is given money by a relative to enjoy life with. He and his wife set off on a cruise around the world. "Rich and Strange" begins well and certainly has its interesting moments. However, it bogs down after about the first half hour and doesn't recover until the last few minutes. Far too much time is spent aimlessly following the relationships outside the marriage by both the husband and wife of the couple. It seems that this part of the film is overblown. A highlight of the film is the spinster played by Elsie Randolph who is quite hilarious. Joan Barry is also very watchable as Emily. However, "Hitch" had not quite hit his stride yet and his best work was yet to come. This movie is mainly for diehard Hitchock fans.

This movie is interesting to me because of it's concentrating on Hitchcock's romance formula which runs through most of his films. In this film it IS the story. Hitch's recurring theme of romance is the partnership of man & woman; the way that partnership is formed, renewed & nurtured. I have always liked his concept of love & romance. It greatly enriches his films. It is a truer & nobler view of this part of life than is usually seen. I like to think that it mirrors the relationship of him & his wife (billed in the titles as Alma Reville; her maiden name). There is certainly more than a hint of things to come. The hero obsesses in much the way as the master did over several of the women he made stars of. I would imagine that Alma had to play much the same role as Joan Barry at some point. Oh well, Hitch was Hitch. He was supposed to be a cruel practical joker too. The movie starts out way too slow for modern audiences. Hang in there or fast forward if you can't stand it. The structure is quite interesting in that it is a hybrid of the silent & sound movie. The first sequence is silent & music is cleverly used in the bit with the umbrellas. All thru the movie portions are silent with faux sync or other tricks. Sometimes the sound quality is awful but bear in mind that getting ANY sound at all was a technical feat in those days. Could probably be cleaned up with Cakewalk (sound program) or similar. Somebody should make the effort. The film lab work too is less than stellar. I have worked the film labs & I really think some of the footage was developed in strong British tea. All in all a quirky & somewhat dated film but good for those who are studying the master.