As we are all aware, Alfred Hitchcock is one of the most famous directors of all time. Some of his best works include Psycho (1960), Vertigo (1958), Rear Window (1954), The Birds (1963), and many more. Yes, Hitchcock is a legend of film history, but there is one film of his most have never heard of. This film is The Trouble With Harry from 1955. It is rare to hear this one being talked about, and it currently being October, it seems this is the perfect time. It has every element it takes a film to become an instant favorite. It has the setting, the rhythm, the plot, the characters, and of course, the score. I would be as bold to say that this is one of Hitchcock’s best works, but I never see it getting the attention it deserves.
First, it is important to highlight one of the main selling points of the film: the scenery. The Trouble With Harry was filmed on location during autumn in Craftsbury, Vermont, and Hitchcock intended to take full advantage of that. They actually ended up having to glue leaves on the trees to achieve the full fall effect, and what an effect they achieved! Beginning from the title sequence, the interiors and the exteriors, every frame is like something straight out of a photography museum. Cinematographer Robert Burks was given the most gorgeous scenes to film and he captured it (in Technicolor) as God intended. Even the art painted diegetically by John Forsythe’s Sam Marlowe is strategically colored to fit well with a New England autumn color palette.
Just as important as the scenery is the rhythm. The score, cinematography, pacing, and bizzare dialogue style combine to create this unique atmosphere that is unlike anything else, especially anything else that was out in 1955. This film is one of Hitchcock’s only true comedies. Of course, it is a black comedy, but still predominantly a comedy.
The plot is something so simple yet so genius. Simply, to avoid spoilers, as the trailer for the film put it: “The trouble with Harry is he’s dead.” There is a group of three characters who all believe they are the ones who caused Harry’s death while a local artist helps the group deal with the situation (multiple times). The ending is surprisingly clever as everything falls into place as a classic Hollywood happy ending.
The characters are peculiarly frank and down-to-earth. It is almost odd. Clad in the perfect costume design to convey their personalities (thanks to Edith head, obviously), it seems that the actors were under strict direction of line delivery. It is truly something that must be seen to understand. Additionally, the characters were written to so steadily fit together like a puzzle, complimenting each of the other’s personalities as a kind of a four-way foil. Shirley MacLaine, in her film debut, proves immediately the star she will go on to be. One of the only faults with the film is that she deserved more screen time.
In case one last reason is necessary to get the point across that this film is one worth watching, the score is the cherry on top. It is the perfect quirky distinct score for the most quirky and distinct Hitchcock film. Hitchcock himself even told The New York Times in 1971 that this was his favorite score of all his films. Bernard Herrmann, long time collaborator with Hitchcock, never disappoints.
In conclusion, The Trouble With Harry, while not the most obscure film Hitchcock ever made, is simply too obscure for the quality it presents. Every aspect of this film borders on flawless. If this essay convinces even one new person to see the film this fall, it will be regarded as a success.
I’m definitely going to prioritize watching this soon! I’ve still only seen Hitchcock’s Rear Window currently.