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Hitchcock gets jubilantly to work on this very raw stuff, expressing with clever conjunction of shots, with superimposition, double exposure, dissolv… - C. A. Lejeune
" "Hitchcock gets jubilantly to work on this very raw stuff, expressing with clever conjunction of shots, with superimposition, double exposure, dissolves, the moving camera, and all his bag of technical tricks, the feelings of loneliness, bitterness, and nausea which his characters might be expected to enjoy; he even tries to give the thing symbolic weight by sending his hero to perdition down the moving staircase of a tube station and the descending shaft of a mansion flat lift. I have never seen such an interesting, production of rubbish nor a clever film which deserved quite so little praise.
English
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About C. A. Lejeune
Caroline Alice Lejeune (27 March 1897 – 31 March 1973) was a British writer remembered as The Observers film critic from 1928 to 1960. She was among the earliest newspaper film critics in Britain, and one of the first British women in the profession. She formed a friendship early in her career with Alfred Hitchcock, "when he was writing and ornamenting sub-titles for silent pictures," as she later wrote.
Also Known As
Alternative Names:
Caroline Alice Lejeune
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C.A. L.
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Mrs. Edward Roffe Thompson
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Caroline Lejeune
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C.A. Lejeune
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C(aroline) A(nne) Lejeune
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Additional quotes by C. A. Lejeune
He has a funny voice that makes you nervous on its high notes, a funny face, no one could call handsome; he cannot, so far as I know, act, and he never appeared yet in a film that merited a moment's serious attention. And yet this frank and friendly Yankee hoofer, hat, white tie, tails, and everything, been elected to the academy of international celebrity. After the first gasp of surprise, however, at the thought of Fred Astaire in company with Pythagoras and astronomies and the alimentary canal and the origin of species, you realise that the compilers of the Encyclopaedia [Britannica] have behaved in a perfectly natural way, assuming—as it is reasonable to assume—that they are going to do their job properly for Mr. Astaire [in the next edition to be published].
Oliver Twist (Odeon, Marble Arch) is the third of the Dickens novels to be filmed, with conscious solicitude, in this country; and while it is obviously very much better than Nicholas Nlckleby, I cannot think it as good a picture as Great Expectations. Possibly the fault lies in the choice of subject: for Oliver Twist, let us face it, is a pretty ugly story. ... And while it is one thing to read about the violent and vicious and sordid experiences that attended the progress of the poor-house boy, it is quite another to see them acted. The only essential difference between Oliver Twist and the modern gangster tale is that the former is written superlatively well.
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