The Witches (1966)

 "I see. What we admit, we believe. And what we believe, I suppose, could destroy us."

This is a most odd example of a peak period Hammer horror film. It totally eschews the usual tropes and fun- and even the usual familiar faces. Instead we get a typical subtly bleak script from Nigel Kneale and a quiet little supernatural thriller, riffing on both voodoo and witchcraft, heavily based on a highly impressive final ever film role for actual Hollywood star Joan Fontaine.

There's much to commend, too. Fontaine is superb, odd though it is to see her share a screen with both Betty Spencer and Reginald Perrin. The misdirection and final twist are well done, and the deep psychological horror of being trapped in a mental institution appears to good effect. It all takes place in a dreamlike mid-'60s Cornwall which adds deliciously to the atmosphere.

Still, it's a bit slow, and the voodoo elements do rather feel crowbarred in, effective though they are at times. The constant flashbacks to the African artifacts are also very awkward. The film is hardly without its flaws, and is certainly far from Kneale's finest work. And the direction is... well, workmanlike. Still, a decent film if perhaps no more than that.

This Above All (1942)

 "A man ,must have integrity..."

This is another British war film, reasonably obscure despite starring Joan Fontaine, and a fascinating snapshot of the age.

It is, I suppose, a wartime romance on the surface. And the performances and characterisation are excellent. Yet at its core it's far more philosophical- about the ethics of war, of duty, of what's being fought for- in a way which could only have emerged in the middle of the Second World War.

Prue is a young, aristocratic lady who scandalises her rich family by joining the WAAF... as a private, despite her upbringing, wanting to do her part, frustrated by the stuffy life of privilege she sees around her by those who see the War as an inconvenient intrusion on their comforts. Clive, meanwhile, is a brave soldier, Dunkirk hero, mentioned in dispatches... yet AWOL and on the brink of desertion not from cowardice but disillusion with the privileged nonentoities whom he percieves to be in charge.

The narrative plays out as the well-done melodrama that it is, with a happy ending after many twists and turns. Yet what lingers most about this film, aside from the very contemporary attitude towards pre-marital sex, is that yes, the message is one of patriotism, of duty, of honour. But it is also a film, pointing forwards to the 1945 election, that Britain has come together for the war and so must never again go back to the old ways of privilege, poverty and a nation divided.

This film is no more than quite good, I suppose. But it's a fascinating snapshot of the age.

Suspicion (1941)

"What did you think I was trying to do? Kill you?"

In hindsight it's easy to see why this isn't one of Hitchcock's most well-known films. Oh, Joan Fontaine and Cary Grant are their usual charismatic selves and the direction is, as one might expect, superb. Except that the story upon which the film is based is both not that good and somewhat lacking in suspense. Essentially, rich heiress Lina marries gambling ne'er-do-well Johnnie, who is irresponsible but has a good heart, ad the film comes up with unconvincing and contrived reasons for her to suspect him of trying to kill her for her money. Even the idea that he might be a killer is broached late in the film, never seems convincing even with Hitchcock;s bag of tricks as a result of the script failing to establish him as a potential threat, and the frantic ending just feels odd and at variance with the rest of the film.

It's notable how very posh the milieu of the film appears to be, just as there doesn't seem to be a war on; our couple honeymoon in Paris, Monaco and Italy- in 1941. It's engaging for much of its length, and both Joan Fontaine and Cary Grant are obviously watchable. Just... don't necessarily make this the only Hitchcock film you ever see.