1 00:00:09,919 --> 00:00:11,910 \{Man Narrating) By the late 50s, Alfred Hitchcock 2 00:00:12,079 --> 00:00:15,310 was probably the most recognisable director in the world. 3 00:00:15,880 --> 00:00:19,839 His name alone was enough to get audiences in the theatre. 4 00:00:19,999 --> 00:00:23,628 In 1960, Alfred Hitchcock's career hit its highest point 5 00:00:23,799 --> 00:00:25,790 with the release of Psycho. 6 00:00:25,959 --> 00:00:30,908 It was followed by The Birds in 1963, and Marnie in 1964. 7 00:00:31,799 --> 00:00:33,391 Although today considered a classic, 8 00:00:33,640 --> 00:00:35,835 Marnie was a boxoffice and critical failure. 9 00:00:36,799 --> 00:00:39,154 Marnie also marked the end of the collaborations 10 00:00:39,320 --> 00:00:41,629 between Hitchcock and two of his colleagues. 11 00:00:41,799 --> 00:00:44,233 Both his director of photography, Robert Burks, 12 00:00:44,399 --> 00:00:46,390 and his editor, George Tomasini, 13 00:00:46,559 --> 00:00:49,517 passed away as Hitchcock was preparing his 50th film. 14 00:00:50,159 --> 00:00:52,832 Sadly, Marnie would also be the last Hitchcock film 15 00:00:53,000 --> 00:00:55,355 featuring a score by Bernard Herrmann. 16 00:00:58,399 --> 00:01:00,549 In the mid 60s, the master of suspense 17 00:01:00,719 --> 00:01:02,789 was competing not only with himself, 18 00:01:02,960 --> 00:01:05,952 but with a whole new generation of filmmakers. 19 00:01:06,119 --> 00:01:08,075 Everyone was now imitating him. 20 00:01:08,240 --> 00:01:11,118 Everyone aspired to be the next Hitchcock. 21 00:01:11,640 --> 00:01:15,076 But to the critics, his films were becoming old-fashioned, 22 00:01:15,239 --> 00:01:18,072 and when Torn Curtain was released in 19686, 23 00:01:18,239 --> 00:01:20,912 they called it “ordinary” and sluggish.” 24 00:01:21,080 --> 00:01:24,595 One reviewer wrote, "When was Hitchcock last at the movies?’ 25 00:01:24,760 --> 00:01:26,557 "Has he lost his touch?’ 26 00:01:26,720 --> 00:01:29,188 Was the director who had been ahead of his time, 27 00:01:29,360 --> 00:01:31,157 now behind his time? 28 00:01:31,559 --> 00:01:33,675 Curiously, despite the bad notices 29 00:01:33,839 --> 00:01:36,273 the film was successful at the box office. 30 00:01:37,000 --> 00:01:37,989 Looking at it today, 31 00:01:38,320 --> 00:01:39,833 while the film is not in the same league 32 00:01:39,999 --> 00:01:42,832 as North by Northwest , or The Man Who Knew Too Much, 33 00:01:43,559 --> 00:01:46,915 Torn Curtain is full of great ideas and full of life. 34 00:01:47,080 --> 00:01:48,911 In fact, several of the sequences 35 00:01:49,080 --> 00:01:52,470 stand out as pure and genuine Hitchcock moments. 36 00:01:52,640 --> 00:01:55,393 Alfred Hitchcock once said, I want to be remembered 37 00:01:55,559 --> 00:01:59,074 as a man who entertained millions through the technique of film.” 38 00:01:59,400 --> 00:02:01,834 Despite the rumours with Torn Curtain, 39 00:02:02,000 --> 00:02:04,036 Mr Hitchcock, you did not fail. 40 00:02:26,239 --> 00:02:28,230 (Narrator) Hitchcock got the idea for Torn Curtain 41 00:02:28,920 --> 00:02:31,957 when he heard of the true story of two British diplomats, 42 00:02:32,120 --> 00:02:36,716 Guy Burgess and Donald MacLean, who bad defected to Russia. 43 00:02:36,879 --> 00:02:38,790 Hitch, as his friends and collaborators 44 00:02:38,959 --> 00:02:40,108 affectionately called him, 45 00:02:40,480 --> 00:02:44,075 wondered, "What did Mrs Maclean think of the whole thing?” 46 00:02:44,439 --> 00:02:45,508 Excuse me. 47 00:02:46,560 --> 00:02:48,391 The theme of Torn Curtain 48 00:02:48,560 --> 00:02:51,358 deals with the average man feeling what it's like to be a spy 49 00:02:52,039 --> 00:02:53,916 and what a dirty business it is. 50 00:02:54,080 --> 00:02:55,798 You told me nothing. 51 00:02:57,600 --> 00:02:58,794 You know nothing. 52 00:03:00,159 --> 00:03:03,231 (Narrator) Novelist Brian Moore was hired to write the script. 53 00:03:03,399 --> 00:03:06,755 Later on, British writers Keith Waterhouse and Willis Hall 54 00:03:06,999 --> 00:03:08,751 did a dialogue polish. 55 00:03:09,639 --> 00:03:11,789 However, an arbitration with the Writers Guild 56 00:03:11,959 --> 00:03:15,747 determined that their contribution did not justify screen credit. 57 00:03:17,120 --> 00:03:18,394 The script was a problem, 58 00:03:18,560 --> 00:03:21,199 and Hitchcock was not satisfied with it. 59 00:03:21,359 --> 00:03:23,634 For one thing, it seemed to lack humour, 60 00:03:23,799 --> 00:03:27,269 an essential ingredient to all of the master's thrillers. 61 00:03:27,920 --> 00:03:30,070 At one point, the script was sent for comments 62 00:03:30,240 --> 00:03:33,630 to the famous Italian writing team of Age and Scarpelli, 63 00:03:33,800 --> 00:03:36,678 who were developing a project with Hitchcock at the time. 64 00:03:37,160 --> 00:03:39,913 "Construction is excellent,” they wrote to Hitchcock, 65 00:03:40,079 --> 00:03:42,274 "and should not be changed at all.” 66 00:03:42,440 --> 00:03:47,719 ‘But the dialogue needs to be revised. It is flat and has no sparkle.” 67 00:03:48,560 --> 00:03:51,120 In the meantime, Julie Andrews and Paul Newman 68 00:03:51,280 --> 00:03:53,510 had been cast in the leading roles. 69 00:03:54,120 --> 00:03:55,997 Julie Andrews only had a small window 70 00:03:56,159 --> 00:03:57,911 during which she could make the film, 71 00:03:58,359 --> 00:04:00,077 and Hitchcock had to rush into production 72 00:04:00,239 --> 00:04:02,673 before he was completely satisfied with the script. 73 00:04:03,799 --> 00:04:06,757 Shooting began in the fall of 1965. 74 00:04:07,799 --> 00:04:09,710 What in hell's name are you doing here? 75 00:04:10,200 --> 00:04:12,395 - Hello, Michael. - Listen to me. 76 00:04:12,799 --> 00:04:15,108 Now, you stay away from me. Don't talk to me. 77 00:04:15,280 --> 00:04:17,236 When this plane lands, you take the next one out! 78 00:04:17,399 --> 00:04:19,151 Anywhere. Go home! 79 00:04:22,199 --> 00:04:23,188 Do you understand? 80 00:04:23,960 --> 00:04:25,473 (Narrator) At the time of Torn Curtain, 81 00:04:25,640 --> 00:04:27,835 Paul Newman was already an established actor 82 00:04:27,999 --> 00:04:29,637 and an international star. 83 00:04:30,279 --> 00:04:33,157 Julie Andrews had received an Oscar for Mary Poppins 84 00:04:33,319 --> 00:04:36,789 and was fresh out of the hit musical The Sound of Music. 85 00:04:37,600 --> 00:04:40,558 But Hitchcock had mixed feelings about his female star 86 00:04:40,720 --> 00:04:42,950 and said he had been talked into hiring her 87 00:04:43,479 --> 00:04:45,947 because she was so hot at the time. 88 00:04:46,119 --> 00:04:48,110 The frustrated director said, 89 00:04:48,280 --> 00:04:50,555 "Then everybody sat around waiting for her to sing.” 90 00:04:50,719 --> 00:04:53,279 - | have nothing to say. - Sarah. 91 00:04:54,960 --> 00:04:57,269 You tell them. You tell them! 92 00:04:57,440 --> 00:05:00,034 You joined them. You're the one who sold out. 93 00:05:00,199 --> 00:05:02,474 You tell them, Professor Armstrong. 94 00:05:04,840 --> 00:05:06,114 Like Hitchcock himself, 95 00:05:06,280 --> 00:05:08,635 Newman was unsure about the script. 96 00:05:09,199 --> 00:05:10,837 Newman was of a new generation 97 00:05:11,000 --> 00:05:13,116 and had been trained at the Actors Studio. 98 00:05:13,680 --> 00:05:16,274 It wasn't in his nature not to speak up. 99 00:05:16,840 --> 00:05:19,479 Newman let Hitchcock know of his problems with the script 100 00:05:19,639 --> 00:05:23,154 in a letter detailing 14 specific points, 101 00:05:23,319 --> 00:05:25,594 some of them having to do with the tone of the film, 102 00:05:26,600 --> 00:05:28,397 some with specific scenes, 103 00:05:29,440 --> 00:05:30,839 some with credibility, 104 00:05:31,400 --> 00:05:34,631 and others with the characterisation of his role. 105 00:05:35,479 --> 00:05:38,551 In his note, the actor also objects to the title. 106 00:05:38,719 --> 00:05:41,358 To him, it lacks the mystery which titles like 107 00:05:41,520 --> 00:05:44,432 North by Northwest and Notorious had. 108 00:05:45,800 --> 00:05:48,314 Looking back at his experience on Torn Curtain, 109 00:05:48,479 --> 00:05:49,958 Paul Newman declared, 110 00:05:50,120 --> 00:05:52,076 1 think I could have hit it off with Hitchcock 111 00:05:52,240 --> 00:05:53,673 if the script had been better.” 112 00:05:54,400 --> 00:05:57,472 ‘It was not a lack of communication, or a lack of respect.” 113 00:05:57,640 --> 00:06:01,076 "The only thing that constantly stood in our way was the script.” 114 00:06:02,239 --> 00:06:03,911 As they were embarking on the film, 115 00:06:04,080 --> 00:06:06,719 Hitchcock sent Newman the following note: 116 00:06:06,880 --> 00:06:10,395 ‘Dear Paul, Around the beginning of the 19th century, 117 00:06:10,559 --> 00:06:13,232 the judge at the Old Bailey always carried a nosegay 118 00:06:13,400 --> 00:06:16,710 which he occasionally sniffed to alleviate the odours of evil 119 00:06:17,120 --> 00:06:19,839 from the Newgate Jail next door.” 120 00:06:20,240 --> 00:06:22,231 "When you come on to the Hitchcock set, 121 00:06:22,400 --> 00:06:25,710 have a good, deep sniff. Love, Hitch.” 122 00:06:26,680 --> 00:06:28,716 Years later, Hitchcock said that Newman 123 00:06:28,879 --> 00:06:32,508 was an actor who liked doing things his own particular way, 124 00:06:32,680 --> 00:06:34,432 and he was fine with that. 125 00:06:34,599 --> 00:06:36,908 On the other hand, he resented performers 126 00:06:37,079 --> 00:06:39,149 who tried to get in the way of his camera 127 00:06:39,319 --> 00:06:41,913 and compromised the editing of a scene. 128 00:06:42,080 --> 00:06:46,153 Hitchcock respected actors as long as they respected him. 129 00:06:52,560 --> 00:06:55,028 (Narrator) Hitchcock knew the beginning of a story 130 00:06:55,200 --> 00:06:56,519 could be rather tedious. 131 00:06:56,680 --> 00:06:58,989 The opening credit sequence was an opportunity 132 00:06:59,159 --> 00:07:02,071 to set the tone of the story and to hook his audience. 133 00:07:10,800 --> 00:07:12,597 Early in his American movie career, 134 00:07:12,760 --> 00:07:16,389 Hitchcock liked to make a statement with interesting openings. 135 00:07:16,560 --> 00:07:17,993 In Saboteur, for instance, 136 00:07:18,160 --> 00:07:21,470 the credit sequence immediately tells us something about the story. 137 00:07:22,319 --> 00:07:25,789 The couples dancing to a waltz in the opening in Shadow of a Doubt 138 00:07:25,959 --> 00:07:28,314 is a recurring image and theme in the plot. 139 00:07:29,319 --> 00:07:31,435 But the most impressive openings, perhaps, 140 00:07:31,600 --> 00:07:35,195 remain those designed by creative genius Saul Bass. 141 00:07:36,400 --> 00:07:38,470 From the opening credits of Torn Curtain, 142 00:07:38,640 --> 00:07:40,631 Hitchcock tries to grab our attention 143 00:07:40,799 --> 00:07:44,633 with interesting and almost mysterious images from the film. 144 00:07:44,799 --> 00:07:47,791 The director had originally intended to have the opening credits 145 00:07:47,960 --> 00:07:50,872 against a blackboard covered with scientific equations, 146 00:07:51,039 --> 00:07:53,633 echoing one of the key scenes in the film. 147 00:07:53,799 --> 00:07:57,235 But instead, he settled for something more sophisticated. 148 00:07:57,400 --> 00:07:59,789 The credits, designed by Mel Stadler, 149 00:07:59,960 --> 00:08:03,919 show on one side of the screen a rocket spitting fire and smoke 150 00:08:04,080 --> 00:08:07,038 and on the other side, images from the film, 151 00:08:07,199 --> 00:08:11,590 subliminal faces suggesting the different aspects of the story. 152 00:08:11,760 --> 00:08:14,797 Hitchcock teases us with a succession of puzzling images 153 00:08:14,960 --> 00:08:17,155 meant to whet our appetite. 154 00:08:19,879 --> 00:08:23,076 Right from the beginning of the film, Hitchcock creates mystery 155 00:08:23,240 --> 00:08:25,276 in a series of quick shots. 156 00:08:25,439 --> 00:08:26,792 There is no dialogue, 157 00:08:26,960 --> 00:08:30,270 and yet we know that we are on a ship with scientists, 158 00:08:30,439 --> 00:08:32,236 that it is very cold, 159 00:08:33,279 --> 00:08:37,067 and that two members of the group are suspiciously missing. 160 00:08:39,159 --> 00:08:41,548 The music in the next scene immediately tells us 161 00:08:41,720 --> 00:08:45,076 that we are witness to a romantic interlude. 162 00:08:45,239 --> 00:08:48,914 It seems the two stars of the film, Paul Newman and Julie Andrews, 163 00:08:49,079 --> 00:08:51,912 have found a rather obvious way to remedy the cold. 164 00:08:53,160 --> 00:08:55,833 The actors are introduced in a very tight close-up, 165 00:08:55,999 --> 00:08:58,069 putting the camera, and therefore the audience, 166 00:08:58,239 --> 00:08:59,752 in a voyeuristic position. 167 00:09:00,720 --> 00:09:02,950 Production photographs of that particular scene 168 00:09:03,119 --> 00:09:05,235 reveal that Hitchcock might have initially wanted 169 00:09:05,400 --> 00:09:06,913 to be a bit more explicit 170 00:09:07,080 --> 00:09:11,073 by showing pieces of clothing strategically spread across the room. 171 00:09:11,879 --> 00:09:12,914 But in the editing, 172 00:09:13,079 --> 00:09:15,593 Hitch decided not to give us the bare facts, 173 00:09:15,760 --> 00:09:17,079 just the essentials. 174 00:09:18,799 --> 00:09:20,835 After their introduction aboard the ship, 175 00:09:20,999 --> 00:09:23,467 we follow our heroes to Copenhagen. 176 00:09:23,639 --> 00:09:26,233 Hitchcock chose to do his famous cameo appearance 177 00:09:26,399 --> 00:09:27,991 in the lobby of the hotel, 178 00:09:28,160 --> 00:09:30,151 which composer John Addison punctuates 179 00:09:30,320 --> 00:09:32,072 with a few notes from the famous theme 180 00:09:32,239 --> 00:09:36,073 of the Alfred Hitchcock Presents television series. 181 00:09:36,999 --> 00:09:41,038 The film was shot on sound stages at Universal Studios in Hollywood, 182 00:09:41,199 --> 00:09:43,872 with some of the exteriors on location. 183 00:09:44,039 --> 00:09:45,552 In preparation for the film, 184 00:09:45,720 --> 00:09:47,950 Hitchcock apparently went on the same journey 185 00:09:48,119 --> 00:09:50,553 as the two main characters in the story. 186 00:09:50,719 --> 00:09:52,550 He flew to Copenhagen. 187 00:09:52,719 --> 00:09:56,109 Then, via Romanian airline, went to East Berlin, 188 00:09:56,399 --> 00:09:57,468 Leipzig, 189 00:09:58,079 --> 00:09:59,273 East Berlin again, 190 00:09:59,680 --> 00:10:00,715 and finally Sweden. 191 00:10:02,160 --> 00:10:04,720 During preproduction, Hitchcock also recorded sounds 192 00:10:04,879 --> 00:10:08,155 in East Germany to get a flavour of the atmosphere. 193 00:10:08,520 --> 00:10:11,717 Hitchcock had originally intended to set the film in Poland, 194 00:10:11,879 --> 00:10:14,712 but was convinced otherwise by a leading Polish producer 195 00:10:14,879 --> 00:10:16,995 who was in America at the time. 196 00:10:17,160 --> 00:10:19,594 Hitchcock met with him as part of his research, 197 00:10:19,999 --> 00:10:22,308 and the man immediately suggested East Germany 198 00:10:22,480 --> 00:10:23,959 rather than Poland for the film. 199 00:10:29,999 --> 00:10:33,469 Oh, could you tell me where the Elmo Bookstore is, please? 200 00:10:33,640 --> 00:10:36,598 - Taxi? - Uh, no. | want this address. 201 00:10:38,320 --> 00:10:41,198 Oh. Hotel d'Angleterre. 202 00:10:42,160 --> 00:10:43,878 No, the address underneath. 203 00:10:47,560 --> 00:10:50,472 It is quite near. We will go together. 204 00:10:51,920 --> 00:10:54,354 (Narrator) Hitchcock knew how to keep the audience alert. 205 00:10:54,519 --> 00:10:57,636 His visuals, even in simple scenes, were unconventional 206 00:10:57,799 --> 00:11:00,632 and often underlined important information. 207 00:11:00,799 --> 00:11:03,438 By focusing on a book that Sarah delivers to Michael, 208 00:11:03,600 --> 00:11:06,034 Hitchcock wants us and Sarah to realise 209 00:11:06,200 --> 00:11:08,794 that something strange is going on. 210 00:11:08,959 --> 00:11:09,994 Up to that point, 211 00:11:10,160 --> 00:11:13,232 The story is told almost exclusively from Sarah's point of view, 212 00:11:13,400 --> 00:11:16,358 making the character of Michael all the more suspicious, 213 00:11:16,520 --> 00:11:18,909 the action all the more suspenseful. 214 00:11:19,079 --> 00:11:20,228 By the way, Professor, 215 00:11:20,399 --> 00:11:22,230 | promised to take Miss Sherman to lunch at Tivoli. 216 00:11:22,400 --> 00:11:24,630 - You don't mind, do you? - Oh, but | do mind. 217 00:11:24,799 --> 00:11:27,791 You are robbing me of the company of a beautiful girl. 218 00:11:27,959 --> 00:11:30,837 Oh, well, go ahead. Enjoy yourself. 219 00:11:30,999 --> 00:11:33,069 Just a moment. | want to leave this book with the concierge. 220 00:11:33,239 --> 00:11:34,467 Be right back. 221 00:11:39,559 --> 00:11:42,631 Well, Michael, will you tell me before we eat or after? 222 00:11:42,800 --> 00:11:45,758 Uh, aren't you going to try your martini? 223 00:11:45,920 --> 00:11:48,150 What are you so upset about? 224 00:11:48,319 --> 00:11:50,355 And what were those tickets you picked up? 225 00:11:50,640 --> 00:11:52,835 (Narrator) As customary in many of Hitchcock's films, 226 00:11:52,999 --> 00:11:56,150 Torn Curtain deals with the improbability of marriage. 227 00:11:56,319 --> 00:11:58,150 In this case, the Newman character 228 00:11:58,320 --> 00:12:01,357 has concealed from his girlfriend his true motives. 229 00:12:01,520 --> 00:12:03,715 In fact, he's trying to protect her, 230 00:12:03,879 --> 00:12:07,349 but neither she nor the audience are aware of it just yet. 231 00:12:07,520 --> 00:12:08,509 Well, | was going to - 232 00:12:08,679 --> 00:12:11,716 Darling, you must have known about this for a long time. 233 00:12:11,879 --> 00:12:13,312 Is that why you didn't want me to come? 234 00:12:13,480 --> 00:12:15,550 | did want you - | thought we had an agreement - 235 00:12:15,719 --> 00:12:16,788 Oh, to hell with the agreement. 236 00:12:16,960 --> 00:12:19,076 You did everything you could to stop me from coming. 237 00:12:19,239 --> 00:12:20,991 The thing with Hengstrom just - 238 00:12:21,160 --> 00:12:23,037 You never intended to give a speech tonight, did you? 239 00:12:23,200 --> 00:12:25,077 To hell with the speech! Let somebody else give it. 240 00:12:25,760 --> 00:12:27,637 (Narrator) Hitchcock shot the couple's confrontation, 241 00:12:27,799 --> 00:12:30,552 as well as several other scenes, the old-fashioned way, 242 00:12:30,719 --> 00:12:32,152 in front of a process screen. 243 00:12:32,319 --> 00:12:33,752 Did you ask him why he made the last-minute switch? 244 00:12:36,480 --> 00:12:39,233 Hitchcock also used a lot of matte paintings in the film 245 00:12:39,399 --> 00:12:42,038 by his longtime collaborator Albert Whitlock. 246 00:12:42,799 --> 00:12:46,553 At a time when film makers were trying to go out on locations, 247 00:12:46,719 --> 00:12:48,630 Hitchcock proved to be set in his ways, 248 00:12:48,799 --> 00:12:52,109 choosing what appeared to be old-fashioned tricks. 249 00:12:52,680 --> 00:12:55,069 But in fact, Hitchcock was reminding us 250 00:12:55,239 --> 00:12:58,072 that his imagery belonged to the artificial world of movies, 251 00:12:58,239 --> 00:13:01,311 even while exploring at the same time current events 252 00:13:01,480 --> 00:13:03,675 like the Cold War in Torn Curtain. 253 00:13:05,920 --> 00:13:08,753 Nothing in Hitchcock's films is gratuitous, 254 00:13:08,960 --> 00:13:10,234 even humorous touches 255 00:13:10,400 --> 00:13:13,039 that seemingly are meant to keep the audience alert. 256 00:13:13,200 --> 00:13:16,237 The gags with the ballerina, for instance, eventually pay off 257 00:13:16,399 --> 00:13:17,991 and are an integral part of the story. 258 00:13:20,639 --> 00:13:21,833 (Speaking In German\} 259 00:13:23,279 --> 00:13:25,156 - (Speaking In Swedish) - (Speaking In German\} 260 00:13:27,639 --> 00:13:28,867 (Speaking In German\} 261 00:13:31,879 --> 00:13:34,996 Narrator) Hitchcock always composed his shots carefully. 262 00:13:35,160 --> 00:13:37,037 In the scene in the airport security office, 263 00:13:37,400 --> 00:13:40,153 Newman is sitting alone on this side of the room, 264 00:13:40,320 --> 00:13:41,719 Sarah is on that side. 265 00:13:41,880 --> 00:13:45,190 They're never contained in the same shot with anyone else. 266 00:13:45,400 --> 00:13:46,628 Is he alone? 267 00:13:47,000 --> 00:13:47,989 She alone? 268 00:13:48,159 --> 00:13:49,478 The others alone? 269 00:13:49,639 --> 00:13:51,869 It's Hitchcock's way of emphasising visually 270 00:13:52,040 --> 00:13:55,715 the alienation that exists between the three parties at that point. 271 00:13:55,880 --> 00:13:59,634 This is Mr Gromek. He will be your personal guide. 272 00:13:59,799 --> 00:14:01,152 - Hello. - Anything you need? 273 00:14:02,040 --> 00:14:04,031 | lived many years in United States. 274 00:14:04,720 --> 00:14:06,472 If he gives you any trouble come to me. 275 00:14:07,280 --> 00:14:08,633 (Narrator) German actor Wolfgang Kieling 276 00:14:08,799 --> 00:14:11,472 was a perfect choice for Gromek. 277 00:14:11,640 --> 00:14:14,552 Hitchcock cleverly punctuates the importance of his role 278 00:14:14,720 --> 00:14:16,950 with a memorable, recurring little detail. 279 00:14:17,639 --> 00:14:19,436 His lighter never works. 280 00:14:21,359 --> 00:14:23,714 Hitchcock stated, "Gromek was created, 281 00:14:23,879 --> 00:14:26,757 as all the characters were, as a human being.” 282 00:14:26,920 --> 00:14:29,559 | lived in 88th Street in New York. 283 00:14:29,999 --> 00:14:32,115 - Oh, good. - (Clears Throat) 284 00:14:33,080 --> 00:14:34,399 Hitchcock continued: 285 00:14:34,560 --> 00:14:36,391 ‘Most films seem to make the Communists 286 00:14:36,559 --> 00:14:39,198 rather granite-faced individuals and humourless.” 287 00:14:40,080 --> 00:14:42,150 By making the enemy practically likeable, 288 00:14:42,319 --> 00:14:46,676 the director was purposely going against conventions and clichés. 289 00:14:47,040 --> 00:14:48,792 Sir, is it true you're defecting? 290 00:14:49,320 --> 00:14:51,629 - Is that the antimissile - - Your plan is to hand over 291 00:14:51,799 --> 00:14:54,438 your secret work to a Communist country? 292 00:14:54,600 --> 00:14:55,749 (Narrator) At the press conference, 293 00:14:55,920 --> 00:14:58,434 Hitchcock puts the audience in Sarah's position. 294 00:14:58,920 --> 00:15:01,718 She never quite sees Michael in the clear. 295 00:15:01,879 --> 00:15:04,632 "Having both of them in the shot would have been objective,” 296 00:15:04,800 --> 00:15:06,916 Hitchcock explained, "Rather like a play.” 297 00:15:07,080 --> 00:15:09,514 Film,” he said, "is subjective.” 298 00:15:10,280 --> 00:15:12,794 (Sarah) How could you do it? How could you tell those lies? 299 00:15:12,960 --> 00:15:17,590 Well, | just... thought it would be better if you didn't know about this. 300 00:15:17,760 --> 00:15:20,228 Narrator) Interestingly enough, Hitchcock decides 301 00:15:20,400 --> 00:15:24,234 to film the confrontation between Michael and Sarah like a stage play. 302 00:15:24,399 --> 00:15:25,752 The camera is not moving, 303 00:15:25,920 --> 00:15:29,196 and both actors are present at opposite ends of the room. 304 00:15:29,359 --> 00:15:30,838 Rather than experiencing it, 305 00:15:30,999 --> 00:15:33,559 the audience is now witnessing the action. 306 00:15:33,720 --> 00:15:36,314 As a result, we are uncomfortable. 307 00:15:36,480 --> 00:15:37,879 We feel like voyeurs, 308 00:15:38,040 --> 00:15:40,508 and that is exactly what Hitchcock intended 309 00:15:40,680 --> 00:15:42,432 when he put us in that position. 310 00:15:44,840 --> 00:15:47,274 Good stories are structured in three acts, 311 00:15:47,439 --> 00:15:49,475 and Torn Curtain is no exception. 312 00:15:49,639 --> 00:15:52,358 In the second act, we completely change point of view. 313 00:15:52,519 --> 00:15:54,987 We have left Sarah's for Michael's. 314 00:15:58,559 --> 00:16:00,072 Hitchcock hated to waste money, 315 00:16:00,239 --> 00:16:03,549 and he resisted building an entire set for the hotel lobby. 316 00:16:03,720 --> 00:16:06,473 He decided instead to film the scene from a high angle 317 00:16:06,639 --> 00:16:09,233 with cleaning women scrubbing the floor. 318 00:16:09,400 --> 00:16:12,836 He added a couple of columns and the elevator doors. 319 00:16:12,999 --> 00:16:14,114 It's quite simple, 320 00:16:14,280 --> 00:16:17,033 and yet the tension comes from the camera angle. 321 00:16:17,199 --> 00:16:20,635 It's a great introduction to the second act of the movie. 322 00:16:24,880 --> 00:16:27,440 The scene at the museum is vintage Hitchcock. 323 00:16:28,160 --> 00:16:31,277 In this sequence, Hitchcock builds incredible suspense, 324 00:16:31,439 --> 00:16:33,828 using almost exclusively the sound of footsteps. 325 00:16:33,999 --> 00:16:35,990 (Footsteps) 326 00:16:43,519 --> 00:16:45,555 Hitchcock always challenged himself 327 00:16:45,719 --> 00:16:47,789 and always tried to find interesting ways 328 00:16:47,960 --> 00:16:50,599 of showing something as obvious as one man following another 329 00:16:50,760 --> 00:16:53,149 in an all new and different way. 330 00:16:59,720 --> 00:17:02,188 - Come here, Professor. - What for? 331 00:17:02,359 --> 00:17:03,872 "What for?" 332 00:17:04,040 --> 00:17:06,110 Come here. That. 333 00:17:08,759 --> 00:17:11,432 - What do you mean? - "What do you mean?” That. 334 00:17:13,040 --> 00:17:15,873 (Narrator) If Torn Curtain had to be remembered for one sequence, 335 00:17:16,040 --> 00:17:18,349 it would have to be the murder of Gromek. 336 00:17:18,520 --> 00:17:21,034 Hitchcock builds the prelude to the murder with quick cuts, 337 00:17:21,480 --> 00:17:23,391 - Hmm? - | don't know. 338 00:17:23,879 --> 00:17:25,551 "| don't know." Answer. 339 00:17:25,719 --> 00:17:26,708 and then initiates it 340 00:17:26,880 --> 00:17:29,997 with the crashing sound of the pot exploding against the wall. 341 00:17:33,240 --> 00:17:35,231 Like the shower murder in Psycho, 342 00:17:35,399 --> 00:17:37,469 this sequence is perfectly designed 343 00:17:37,639 --> 00:17:40,358 and made of precise pieces of film. 344 00:17:41,200 --> 00:17:44,476 Cut it out. Don't be stupid. | was trained by experts. 345 00:17:45,279 --> 00:17:46,837 Torn Curtain was done at a time 346 00:17:47,000 --> 00:17:49,514 when spy thrillers simplified the act of murder, 347 00:17:49,680 --> 00:17:50,999 and it was Hitchcock's intention 348 00:17:51,159 --> 00:17:53,434 to show how difficult it is to kill someone. 349 00:17:54,319 --> 00:17:56,913 | can take you - how do you say? - 350 00:17:57,079 --> 00:17:59,388 one arm tied behind my back! 351 00:18:01,079 --> 00:18:03,639 "People are killed so easily,” Hitchcock complained. 352 00:18:03,800 --> 00:18:05,870 "Nobody ever goes back to take a second look 353 00:18:06,040 --> 00:18:07,553 to see whether they're actually dead or not.” 354 00:18:08,320 --> 00:18:09,992 The whole idea was not only to show 355 00:18:10,160 --> 00:18:12,958 how difficult it is to kill a man,” Hitchcock continued, 356 00:18:13,119 --> 00:18:16,475 "but to point out to the character what espionage entails.” 357 00:18:16,639 --> 00:18:19,233 "You're involved in killing.” 358 00:18:19,719 --> 00:18:22,472 ‘Murder can be fun,” Hitchcock used to say, 359 00:18:22,680 --> 00:18:23,669 and as a result, 360 00:18:23,839 --> 00:18:27,229 there is a fair amount of black humour and irony in this sequence. 361 00:18:27,399 --> 00:18:30,197 Part of the irony is that Paul Newman is an amateur spy; 362 00:18:30,680 --> 00:18:32,318 that he doesn't know how to kill. 363 00:18:32,479 --> 00:18:35,994 OK, you had your fun. Now we stop these games! 364 00:18:36,759 --> 00:18:39,034 The murder of Gromek comes under the heading, 365 00:18:39,200 --> 00:18:41,350 If you go into a setting, use it.” 366 00:18:42,079 --> 00:18:43,068 In the farmhouse, 367 00:18:43,239 --> 00:18:46,515 all the tools of death or torture were domestic instruments: 368 00:18:46,919 --> 00:18:47,908 a carving knife, 369 00:18:49,760 --> 00:18:50,749 a shovel, 370 00:18:53,200 --> 00:18:54,519 and the gas oven. 371 00:18:56,320 --> 00:18:59,039 Incidentally, several critics alluded to the fact 372 00:18:59,200 --> 00:19:01,430 that Gromek, a German, being gassed, 373 00:19:01,599 --> 00:19:03,396 recalled the concentration camps. 374 00:19:03,560 --> 00:19:05,835 Hitchcock claimed that he was always leery of the thought 375 00:19:05,999 --> 00:19:08,797 of using the oven as a kind of symbolic gesture, 376 00:19:08,999 --> 00:19:11,957 that it wasn't really a conscious decision. 377 00:19:14,320 --> 00:19:16,550 Hitchcock liked to manipulate sound. 378 00:19:16,719 --> 00:19:18,869 The murder scene is practically silent. 379 00:19:29,999 --> 00:19:33,514 Cut it out. Don't be stupid. | was trained by experts. 380 00:19:34,040 --> 00:19:36,156 Narrator) But originally, composer Bernard Herrmann 381 00:19:36,320 --> 00:19:38,595 had written a score for that sequence. 382 00:19:51,119 --> 00:19:53,587 Tell the cookie she should put that down. 383 00:19:54,159 --> 00:19:56,354 She's gonna cut your fingers off. 384 00:20:03,320 --> 00:20:05,470 - (Screaming) - (Narrator) It was Herrmann 385 00:20:05,639 --> 00:20:08,756 who had suggested music for the shower murder in Psycho. 386 00:20:08,999 --> 00:20:11,911 Initially, Hitchcock had wanted no score, 387 00:20:12,079 --> 00:20:15,708 Just water, screams, and the knife slicing at Janet Leigh. 388 00:20:21,959 --> 00:20:24,234 For Torn Curtain, Hitchcock had asked Herrmann 389 00:20:24,400 --> 00:20:26,391 to write a commercial score. 390 00:20:26,839 --> 00:20:29,558 Dissatisfied with the results, Hitchcock fired Herrmann 391 00:20:29,719 --> 00:20:31,789 and replaced him with John Addison, 392 00:20:31,959 --> 00:20:35,235 who had received an Academy Award for Tom Jones. 393 00:20:35,400 --> 00:20:37,038 Coincidentally, like Herrmann, 394 00:20:37,200 --> 00:20:39,873 John Addison also wrote a cue for the murder sequence, 395 00:20:40,039 --> 00:20:41,757 but Hitchcock decided not to use it. 396 00:21:08,239 --> 00:21:09,797 When comparing the two scores, 397 00:21:09,959 --> 00:21:11,950 there is not doubt that Herrmann's music, 398 00:21:12,119 --> 00:21:14,030 as it had been consistently in the past, 399 00:21:14,200 --> 00:21:16,794 would have been a nice complement to Hitchcock's visuals. 400 00:21:17,399 --> 00:21:19,867 One can only imagine how different the film would bave been 401 00:21:20,040 --> 00:21:22,235 with Herrmann's music. 402 00:21:25,400 --> 00:21:27,550 After the murder, in the original script, 403 00:21:27,719 --> 00:21:29,710 an interesting sequence took place. 404 00:21:30,239 --> 00:21:33,549 Michael and Sarah stop at one of the country's best restaurants, 405 00:21:33,719 --> 00:21:35,152 a workers’ canteen. 406 00:21:35,959 --> 00:21:37,711 The manager of the factory explains 407 00:21:37,880 --> 00:21:40,952 how he admires Michael for defecting from his country. 408 00:21:41,759 --> 00:21:44,512 The workers expect a speech; Michael resists, 409 00:21:45,159 --> 00:21:46,592 and Sarah says a few words, 410 00:21:46,760 --> 00:21:49,399 thanking the men for their kind welcome. 411 00:21:49,560 --> 00:21:52,233 Suddenly, Michael's face is drained. 412 00:21:52,400 --> 00:21:56,359 Standing in front of him is Gromek's older brother. 413 00:21:56,759 --> 00:21:58,317 The same actor played the part, 414 00:21:58,479 --> 00:22:01,596 wearing a moustache, a wig and glasses. 415 00:22:02,520 --> 00:22:04,556 Hitchcock added some twisted irony. 416 00:22:04,719 --> 00:22:08,837 The brother, holding a knife similar to the one used on Gromek earlier, 417 00:22:08,999 --> 00:22:14,073 cuts a piece of sausage and asks Michael to give it to his sibling. 418 00:22:14,440 --> 00:22:16,635 The scene ultimately ended on the cutting room floor 419 00:22:16,800 --> 00:22:18,995 when Hitchcock decided to shorten the film, 420 00:22:19,200 --> 00:22:21,077 but there was also another concern. 421 00:22:21,239 --> 00:22:23,628 At one point, the brother shows family pictures, 422 00:22:23,799 --> 00:22:26,472 and we find out that Gromek has three children. 423 00:22:27,039 --> 00:22:30,349 Ultimately, the character of Gromek began to look too sympathetic, 424 00:22:30,519 --> 00:22:33,317 and, logically, Newman was turning into the villain. 425 00:22:33,479 --> 00:22:37,233 All that's left of the sequence are a few stills and pages from the script. 426 00:22:47,520 --> 00:22:49,988 (Manfred) Ah, Miss Sherman. 427 00:22:51,320 --> 00:22:52,639 Please. 428 00:22:53,959 --> 00:22:56,871 (Narrator) Torn Curtain, like most Hitchcock films, 429 00:22:57,040 --> 00:22:58,155 is a romantic picture. 430 00:22:58,320 --> 00:23:00,914 Part of the suspense has to do with the tension that exists 431 00:23:01,079 --> 00:23:02,717 between Sarah and Michael 432 00:23:02,879 --> 00:23:05,029 How far is she willing to go for him? 433 00:23:05,200 --> 00:23:07,919 How far is he willing to go without telling her the truth? 434 00:23:08,079 --> 00:23:09,068 (Michael) Give me five minutes with her. 435 00:23:09,239 --> 00:23:11,912 - After all, she is my girl. - (Sarah) Put that in the past tense. 436 00:23:12,079 --> 00:23:15,913 Following his motto, that "drama is life with the dull bits left out,” 437 00:23:16,079 --> 00:23:19,276 Hitchcock filmed the argument between the couple from afar, 438 00:23:19,439 --> 00:23:22,237 sparing us from hearing that Michael is not a traitor, 439 00:23:22,400 --> 00:23:23,913 something that we already know. 440 00:23:24,359 --> 00:23:26,827 Instead of a boring sequence filled with dialogue, 441 00:23:27,000 --> 00:23:29,719 Hitchcock delivers an important emotional moment 442 00:23:29,880 --> 00:23:32,075 for both the characters and the audience, 443 00:23:32,280 --> 00:23:34,714 leading us into act three, which will be told 444 00:23:34,879 --> 00:23:37,074 through both Michael and Sarah's point of view. 445 00:23:46,680 --> 00:23:47,669 Oh, Michael. 446 00:24:03,280 --> 00:24:06,317 Gentlemen, | must know about this Gamma Five work before | leave! 447 00:24:06,879 --> 00:24:09,188 The "MucGuffin” is another Hitchcock trademark. 448 00:24:09,800 --> 00:24:12,075 It's what the characters in the story are after, 449 00:24:12,359 --> 00:24:15,237 but the audience doesn't really know what it is. 450 00:24:15,719 --> 00:24:19,837 This Gamma Five work of yours sounds interesting. 451 00:24:19,999 --> 00:24:21,751 You're a brilliant young man. 452 00:24:21,919 --> 00:24:22,908 (Narrator) In Torn Curtain, 453 00:24:23,079 --> 00:24:25,639 the '‘MucGuffin” has to do with a secret formula. 454 00:24:25,799 --> 00:24:28,029 All that's important for the audience to know 455 00:24:28,200 --> 00:24:30,919 is that our hero must get it from Professor Lindt 456 00:24:31,079 --> 00:24:32,353 played by Ludwig Donath. 457 00:24:32,519 --> 00:24:33,952 No, no, no, no! 458 00:24:36,719 --> 00:24:38,516 Look. Learn! 459 00:24:39,800 --> 00:24:41,233 While developing the sequence, 460 00:24:41,400 --> 00:24:43,470 Hitchcock hesitated between two options. 461 00:24:44,400 --> 00:24:46,994 At first, he felt that Michael should start the equation 462 00:24:47,160 --> 00:24:50,311 and that the professor should jump in and finish it. 463 00:24:50,479 --> 00:24:53,596 Instead, Hitchcock decided to have Lindt tell it all, 464 00:24:53,760 --> 00:24:55,193 and have Michael memorise it. 465 00:24:55,359 --> 00:24:56,678 My God! 466 00:24:58,599 --> 00:25:00,908 In an effort to complicate things for the audience 467 00:25:01,079 --> 00:25:03,877 and to divert us from concentrating on the "MucGuffin,” 468 00:25:04,040 --> 00:25:07,157 Hitchcock tells us something that the hero doesn't know. 469 00:25:07,320 --> 00:25:09,436 Gromek's body has been found. 470 00:25:09,599 --> 00:25:11,430 "Professor Armstrong and Miss Sherman, 471 00:25:11,599 --> 00:25:14,272 you are wanted at once in the vice rector's office.” 472 00:25:16,320 --> 00:25:18,038 (Narrator) We know that something is going to happen, 473 00:25:18,200 --> 00:25:19,758 and now we're afraid for Newman. 474 00:25:20,359 --> 00:25:21,348 The bomb is ticking. 475 00:25:21,959 --> 00:25:24,109 Hitchcock was called "The Master of Suspense’, 476 00:25:24,280 --> 00:25:26,430 not because he could surprise us with an explosion, 477 00:25:24,280 --> 00:25:27,989 but because he left us hanging, waiting for it to happen. 478 00:25:34,040 --> 00:25:35,758 (Man) Herr Jacobi. 479 00:25:38,879 --> 00:25:40,028 This way, please. 480 00:25:41,000 --> 00:25:42,149 (Narrator) The sequence on the bus 481 00:25:42,320 --> 00:25:44,880 gives Hitchcock another opportunity for danger, 482 00:25:45,279 --> 00:25:48,112 It's a roadblock. Do you have your identity cards? 483 00:25:48,919 --> 00:25:50,238 ispense, 484 00:25:52,719 --> 00:25:54,038 tension, 485 00:26:00,160 --> 00:26:02,310 and, of course, humour. 486 00:26:05,479 --> 00:26:07,709 Hitchcock said, "When employing suspense, 487 00:26:07,880 --> 00:26:10,030 you have to give the audience a chance to laugh.” 488 00:26:10,560 --> 00:26:13,711 if you don't the human body cannot stand the strain, 489 00:26:13,880 --> 00:26:16,519 and the whole affair will become ludicrous.” 490 00:26:17,160 --> 00:26:18,832 (Speaking In German\} 491 00:26:22,440 --> 00:26:25,671 Excuse me, please. You wish information? 492 00:26:25,839 --> 00:26:27,318 A votre service, mademoiselle. 493 00:26:28,279 --> 00:26:31,794 (Narrator) Hitchcock was known for his quirky secondary characters. 494 00:26:31,959 --> 00:26:32,948 True to the tradition, 495 00:26:33,240 --> 00:26:36,994 Hitchcock cast Russian-French character actress Lila Kedrova, 496 00:26:37,440 --> 00:26:41,353 who had reached international fame for her role in Zorba the Greek. 497 00:26:41,520 --> 00:26:44,398 How exciting to meet you, Professor. 498 00:26:46,039 --> 00:26:48,872 It is not every day one meets a spy. 499 00:26:50,040 --> 00:26:52,679 The character of the countess has two faces. 500 00:26:52,839 --> 00:26:55,194 On one hand, she's pleading and kind. 501 00:26:55,360 --> 00:27:00,480 | wish very much to go to the United States of America. 502 00:27:01,239 --> 00:27:05,949 Unfortunately, it is necessary to have... friends there. 503 00:27:06,119 --> 00:27:07,711 How you say? Sponsor. 504 00:27:08,759 --> 00:27:11,876 On the other hand, she is a blackmailer and almost menacing. 505 00:27:13,399 --> 00:27:16,948 Now, | am making you proposition. 506 00:27:18,040 --> 00:27:22,352 You two, you promise me to be my sponsors for a visa 507 00:27:22,559 --> 00:27:24,390 to the United States of America. 508 00:27:24,560 --> 00:27:28,838 And in return, | will take you where you wish to go. 509 00:27:29,400 --> 00:27:31,038 (Narrator) As Hitchcock himself explained, 510 00:27:31,279 --> 00:27:34,476 "She was really a symbol of all the people behind the Iron Curtain 511 00:27:34,759 --> 00:27:35,953 who wanted to get away.” 512 00:27:37,440 --> 00:27:38,555 (Speaking In German\} 513 00:27:39,400 --> 00:27:40,833 (Speaking In German\} 514 00:27:43,439 --> 00:27:44,758 Albert? Ja, ja. 515 00:27:46,640 --> 00:27:49,791 Narrator) Hitchcock approached the beats of the story very carefully. 516 00:27:50,679 --> 00:27:51,668 In Torn Curtain, 517 00:27:51,839 --> 00:27:54,717 he consistently alternates between suspense and relief. 518 00:27:54,879 --> 00:27:55,868 Herr Albert? 519 00:27:56,039 --> 00:27:59,076 The scenes with Lila Kedrova exemplify both. 520 00:27:59,400 --> 00:28:02,472 Hitchcock gives us room to breathe in the coffee shop sequence, 521 00:28:02,640 --> 00:28:05,757 and then builds the suspense up again at the post office. 522 00:28:16,839 --> 00:28:18,158 My sponsor. 523 00:28:21,959 --> 00:28:24,189 (Narrator) It's no coincidence that Hitchcock selected 524 00:28:24,359 --> 00:28:27,032 production designer Hein Heckroth for the film. 525 00:28:27,599 --> 00:28:30,511 Heckroth had designed the unforgettable classic ballet story 526 00:28:30,680 --> 00:28:35,629 The Red Shoes for Michael Powell and Emeric Pressburger in 1948. 527 00:28:35,799 --> 00:28:37,630 His great work on that particular film 528 00:28:37,800 --> 00:28:41,031 came in handy for this climactic ballet sequence. 529 00:28:48,320 --> 00:28:50,880 Hitchcock literally sets the stage for a climax 530 00:28:51,040 --> 00:28:52,996 reminiscent of the Albert Hall sequence 531 00:28:53,160 --> 00:28:55,515 in his own The Man Who Knew Too Much. 532 00:28:56,200 --> 00:28:58,794 This time, we're not listening to a concert, 533 00:28:59,040 --> 00:29:00,598 we're watching a ballet. 534 00:29:00,759 --> 00:29:02,715 This time, we do not have Doris Day 535 00:29:02,879 --> 00:29:04,915 screaming at the crash of the cymbals. 536 00:29:05,079 --> 00:29:09,277 We have Paul Newman shouting in order to escape the police. 537 00:29:09,439 --> 00:29:13,227 But in both films, Hitchcock used a stage as part of the drama, 538 00:29:13,400 --> 00:29:15,356 not just as a backdrop. 539 00:29:16,200 --> 00:29:19,158 Basically, Michael gets the idea of screaming fire” 540 00:29:19,320 --> 00:29:22,073 from watching the scenery in the ballet. 541 00:29:22,479 --> 00:29:24,071 Hitchcock felt safe repeating tricks 542 00:29:24,239 --> 00:29:26,070 that had worked in his previous films. 543 00:29:26,879 --> 00:29:28,949 In fact he once declared, 544 00:29:29,120 --> 00:29:31,031 "Self-plagiarism is style.” 545 00:29:32,319 --> 00:29:33,308 Fire! 546 00:29:33,479 --> 00:29:35,197 (Screaming, Shouting\} 547 00:29:41,920 --> 00:29:43,751 (Ship's Horn Blowing\} 548 00:29:44,520 --> 00:29:45,953 (Narrator) The original ending of the film 549 00:29:46,119 --> 00:29:48,428 showed Michael burning the formula he had stolen from Lindt. 550 00:29:49,239 --> 00:29:50,957 - My God. - It's genius. 551 00:29:51,519 --> 00:29:55,398 But Hitchcock felt that by trivialising the whole point of the journey, 552 00:29:55,560 --> 00:29:56,754 the audience might get frustrated 553 00:29:56,920 --> 00:29:59,150 with the fact that the danger had been for nothing. 554 00:29:59,599 --> 00:30:00,714 (Shouting In German\} 555 00:30:03,360 --> 00:30:06,875 Instead, Hitchcock settled for something romantic. 556 00:30:07,039 --> 00:30:08,438 We've come full circle. 557 00:30:08,599 --> 00:30:12,148 We leave our characters as we met them, under the covers. 558 00:30:26,999 --> 00:30:28,478 Michael! (Laughing\} 559 00:30:33,040 --> 00:30:35,759 Hitchcock never felt like he had to top himself. 560 00:30:36,079 --> 00:30:38,354 However, his audience and the critics did. 561 00:30:39,640 --> 00:30:41,710 The immediate reaction to Torn Curtain 562 00:30:41,879 --> 00:30:44,347 was that it was no North by Northwest, 563 00:30:44,519 --> 00:30:46,271 but as Hitchcock once stated, 564 00:30:46,440 --> 00:30:49,113 ‘Most films should be seen more than once.” 565 00:30:49,759 --> 00:30:52,512 And on second viewing, Torn Curtain emerges 566 00:30:52,680 --> 00:30:55,069 as a perfectly legitimate Hitchcock picture. 567 00:30:56,079 --> 00:31:00,789 Hitchcock felt satisfied if he got 75% of his original vision on the screen. 568 00:31:00,959 --> 00:31:02,278 With Torn Curtain, 569 00:31:02,719 --> 00:31:06,189 he most certainly accomplished his ambition.