Hitchcock's British Films: Expressionism, Montage, and Realism

Introduction: Hitchcock's Cinematic Influences

Alfred Hitchcock is one of the most well-known and respected names in British and American cinema. From his initial foray into cinema during the silent era through his transition to sound film and eventual move to Hollywood, Hitchcock's influences can be traced to three distinct cinematic styles and periods: German Expressionism, Soviet Constructivism, and Griersonian Documentary Realism. The combination of these three styles and periods is present in The 39 Steps (1935) and The Lady Vanishes (1938), two thriller films from Hitchcock's British Sound Period. Through their editing, mise-en-scène, and narrative, Hitchcock exploits the fundamental elements of German Expressionism, Soviet Constructivism, and Griersonian Documentary Realism to create unified films that draw in a willing and captive audience.

German Expressionism and Mise-en-Scène

Hitchcock was first introduced to German Expressionism in 1924 when he was sent to work at the UFA studios and collaborated directly with German Expressionist directors such as F.W. Murnau on Der Letzte Mann (The Last Man, 1924). One of the most important contributions German Expressionism made to cinema was a focus on mise-en-scène — that is, how a scene is framed. This approach highly influenced how people, situations, and objects were represented on screen; symbolism was injected into each scene through techniques that highlight the duality of characters and of society. Additionally, German Expressionist techniques helped to heighten suspense in each film.

In Hitchcock, François Truffaut contends, "The art of creating suspense is also the art of involving the audience, so that the viewer is actually a participant of the film" (Truffaut 16). This involvement can only be achieved through what is presented on screen via mise-en-scène and editing. Hitchcock himself claimed, "Our primary function is to create an emotion and our second job is to sustain that emotion. When a film is properly staged, it isn't necessary to rely upon the player's virtuosity or personality for tension and dramatic effects" (Truffaut 111). Hitchcock further depended on what is depicted on screen without relying on dialogue: "When we tell a story in cinema, we should resort to dialogue only when it's impossible to do so otherwise" (Truffaut 61).

In The 39 Steps, one of the most memorable uses of German Expressionist technique appears in the sequence in which Hannay eludes the police by jumping off a train. The angles created by the bridge where the train stops — allowing Hannay to jump and continue his escape — are reminiscent of the painted sets found in the German Expressionist films of Murnau and Fritz Lang. Furthermore, the angles introduced by the bridge add to the suspense and to the disorientation Hannay experiences, creating a dizzying effect. In The Lady Vanishes, the film's narrative depends almost entirely on what is portrayed on screen, since the majority of the action takes place within the contained space of a moving train. Because of this, every shot must contribute to an atmosphere of confinement in which no one can be trusted.

Soviet Constructivism and Dialectical Montage

While German Expressionism utilized mise-en-scène to further the narrative, Soviet Constructivism sought to propel a film's narrative through editing. Sergei Eisenstein, one of the pioneers of Soviet Constructivism, believed "that editing or montage was the foundation of film form" (Gazetas 65). Soviet Constructivism often made use of dialectical montage to explore the hidden meanings of images. "When Eisenstein applied dialectical montage to editing his films, he strove to capture a visual counterpoint of opposing images that would mentally combine in the spectator's mind into a new abstract idea" (Gazetas 65). This creation of abstract ideas by the spectator supports Truffaut's claim that the generation of suspense requires active audience involvement. Furthermore, the creation of a new abstract idea is comparable to the creation of emotion as a psychological attachment; Soviet Constructivism thus seeks to propagate and sustain that psychological attachment. Eisenstein theorized that other cinematic and editing techniques could be used to create conflict, including the juxtaposition of shots showing contrasting shapes, sizes, volumes, directions, and lighting (Gazetas 65). These techniques adapt and extend the methods established through German Expressionism — the use of angles, lighting, and distorted reality to create an atmosphere of uncertainty.

In Hitchcock, Truffaut writes, "In real life, the things people say to each other do not necessarily reflect what they actually think and feel" (Truffaut 17). Through mise-en-scène and dialogue, Hitchcock demonstrates how social formalities work to obscure the truth; this counterpoint between image and dialogue further emphasizes Soviet Constructivist technique. For example, in The 39 Steps, when Hannay inadvertently arrives at Professor Jordan's home in Scotland, not only does the maid inform the police that she has not seen Hannay, but the interactions between Hannay and Professor Jordan are deeply contradictory. The two men appear to observe the social formalities of polite conversation while their actions and body language contradict what they say or claim to be. What is seen on screen is not what is heard by the audience.

Conclusion: A Unified Cinematic Vision

Hitchcock is able to seamlessly combine elements of German Expressionism — what is presented on screen — Soviet Constructivism — how it is presented on screen — and Griersonian Documentary Realism — the elements that allow audiences to relate to characters and action on screen — to create films that highlight the legitimate dangers individuals may unknowingly encounter. Moreover, Hitchcock uses his films' formal qualities not only to embellish what he presents on screen and the emotions his films arouse, but also to create and sustain those emotions and thoughts in the minds of his audience long after the film has ended.