| 词条 | Rich and Strange |
| 释义 |
| name = Rich and Strange | image = Richandstrange.jpg | caption = DVD cover | image_size = | producer = John Maxwell | director = Alfred Hitchcock | based on = Rich and Strange by Dale Collins | screenplay = Alfred Hitchcock Alma Reville Val Valentine | starring = Henry Kendall Joan Barry | music = Adolph Hallis | country = United Kingdom | cinematography = John "Jack" Cox Charles Martin | editing = Winifred Cooper Rene Marrison | studio = British International Pictures | distributor = Wardour Films {{small|(UK)}} | released = 10 December 1931 {{small|(UK)}} 1 January 1932 {{small|(US)}} | runtime = 92 min. {{small|(UK)}} 83 min. {{small|(US)}} | language = English }} Rich and Strange, released in the United States as East of Shanghai, is a 1931 film directed by Alfred Hitchcock during his time in the British film industry. The film was adapted by Hitchcock, his wife Alma Reville, and Val Valentine from the novel by Dale Collins. The title is an allusion to words of Ariel's song "Full fathom five" in Shakespeare's The Tempest. PlotA couple, Fred (Henry Kendall) and Emily Hill (Joan Barry), living a mundane middle-class life in London, receive a letter informing them that an uncle will give them, as an advance against their future inheritance, as much money as they need to enjoy themselves in the present. Immediately Fred quits his job as a clerk and they leave on a cruise for "the Orient". Fred quickly shows his susceptibility to sea-sickness while crossing the English Channel. In Paris, both are scandalised by the Folies Bergère. As they cruise the Mediterranean, Fred's sea-sickness keeps him in bed. During this time, Emily begins a relationship with a Commander Gordon (Percy Marmont), a dapper, popular bachelor. Finally feeling well enough to appear on deck, Fred is immediately smitten with a German "princess" (Betty Amann), who hits him in the eye with the rope ring used to play deck tennis (a combination of tennis and quoits which was at the time widely played shipboard). Both begin spending their time on board with their new paramours to the virtual exclusion of each other, and each plans to dissolve the marriage. In Colombo, the couple accidentally and awkwardly end up next to each other in a rickshaw. When the passengers disembark at the final destination of Singapore, Emily leaves with Gordon for his home. When he reveals that the princess is a sham aiming to relieve Fred of his money, she realises she cannot go on with Gordon and returns to warn her husband. Fred does not believe her at first, but soon discovers his lover has absconded with £1000 of his money to Rangoon. He learns that she was merely the daughter of a Berlin laundry owner and a common street walker. The couple have only enough money to clear their hotel bill and to book passage home to England on a tramp steamer. However, Fred and Emily's troubles have not ended, as the ship is abandoned after a collision in the fog. They are trapped in their cabin and prepare themselves for a watery end. In the morning, however, they awake to find the ship still afloat, and escape through a porthole. A Chinese junk arrives, and the crew proceed to loot the ship. When Fred and Emily board the junk, they are left unmolested and even fed. They finally return home, with their love for each other strengthened and seemingly wiser for their experiences. In the last scene, back home in London, the couple are seen arguing in a manner reminiscent of their bickering immediately prior to the arrival of the fateful letter. Cast
ProductionThe film exhibits techniques developed by Hitchcock in his later films. Most notable are the shipboard sets, including a recreation of a full-size ship in a water tank. The director also experimented with camera techniques and shot compositions, most prominently in the film's innovative opening sequence, which shows city office workers leaving work at the end of the day. The elaborately choreographed opening scene of workers leaving the office was made on a specially-constructed set and filmed in a single continuous pan shot, and is followed by an extended comedic sequence depicting Fred's workaday travails as he travels home on the train, which was performed entirely without dialogue. ReceptionReleased during Hitchcock's period between The Lodger (1927) and his breakthrough hits The Man Who Knew Too Much (1934) and The 39 Steps (1935), Rich and Strange was a failure at both the British and US box office. The film's lack of commercial and critical success is often attributed to the fact that there is dialogue for only about a quarter of the film, and that many features of silent films remain, including scene captions, exaggerated acting styles and heavy makeup. An early scene of Fred leaving work for home via the London Underground is very reminiscent of Chaplin and highly dissimilar to typical Hitchcock staging. Hitchcock's experiment in pre-sound emotive performances over dialogue was another contributing factor. Home mediaIn 2005, the French media company Canal+ obtained the rights to Rich and Strange and nine other early Hitchcock films. Lionsgate Home Entertainment licensed at least five of the films and released Rich and Strange in a collection of early Hitchcock films on 6 February 2007. The five films have been digitally remastered with improved sound and video.[1] References1. ^[https://www.nytimes.com/2007/02/06/movies/homevideo/06dvd.html New York Times Movie Database] External links
9 : 1931 films|1930s romantic comedy films|British films|British black-and-white films|Films shot at Elstree Studios|English-language films|Films based on Australian novels|Films directed by Alfred Hitchcock|Seafaring films |
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