During the editing (which is when I really start to see the film), I saw that it was Hitchcock who had guided us through the writing and Lang who guided us through the shooting: especially his last films, the ones where he leads the spectator in one direction before he pushes them in another completely different direction, in a very brutal, abrupt way.
—Jacques Rivette on his Secret défense (1998), fro http://www.jacques-rivette.com/
Long before the much-vaunted, high-concept ‘mind-game movies’ like Memento (2000), Eternal Sunshine of the Spotless Mind (2004) or Inception (2010), there was Fritz Lang’s Secret Beyond the Door… (1947). The film is like a broken puzzle at every level, virtually begging us to rearrange its pieces and find its key. Indeed, one almost needs to formulate a ‘hypothesis of the stolen film,’ Ruiz-style, since the movie we have before us is not quite the one Lang and his talented writer Silvia Richards (Possessed,...
—Jacques Rivette on his Secret défense (1998), fro http://www.jacques-rivette.com/
Long before the much-vaunted, high-concept ‘mind-game movies’ like Memento (2000), Eternal Sunshine of the Spotless Mind (2004) or Inception (2010), there was Fritz Lang’s Secret Beyond the Door… (1947). The film is like a broken puzzle at every level, virtually begging us to rearrange its pieces and find its key. Indeed, one almost needs to formulate a ‘hypothesis of the stolen film,’ Ruiz-style, since the movie we have before us is not quite the one Lang and his talented writer Silvia Richards (Possessed,...
- 9/1/2014
- by Cristina Álvarez López & Adrian Martin
- MUBI
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