Alfred Hitchcock - 1966
Again, Hitchcock refines his mis-en-scene. Yet it really is very exciting. Suddenly moving out to a very long view of Newman, then so close for the kissing. High angles, low angles. A spectacular pirrouhetting movement across the lobby. Why the floursishes? Emotion pictures? Julie Andrews' reverse shot suddenly being on the axis; another example.
This is in many ways a baffling film. It does explore the personal and the political, the wronged man, and various things. But the abiding sense I got here was the chaos Newman and latterly Andrews leave behind. All are sacrificed, in a quite stupid, unthinking away. The human feeling of it, the small, slightly absurd finale of how it turns out a food hamper sits there while people bicker.
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