What happens when a Brooklyn-born woman fulfils her life-long desire to ‘return’ home to Israel to see the land her Palestinian ancestors were ejected from 60 years ago? What happens when she meets a young Palestinian boy whose ambition, contrary to hers, is to leave Palestine forever? What happens when they — tired and angry of the constraints that dictate their lives — take things into their own hands to grab their rights, even if it’s by illegal means?
Answering all this and many more questions is film-maker Annamarie Jacir’s Salt Of This Sea. It’s the story of Soraya who discovers that her grandfather’s savings were frozen in a bank account in Jaffa when he was exiled in 1948. Determined to reclaim what is hers, she arrives in Israel. However, she faces her first stumbling block at the passport-control booth at Ben-Gurion airport when the authorities discover that her family hailed from Jaffa before 1948. She is interrogated and strip-searched at customs.
She encounters her next hurdle after arriving in Ramallah. Here, at the bank she’s told all Palestinian deposits before the formation of Israel had been wiped clean. Despite trying her best she fails to recover her grandfather’s money. She is also informed that she can’t apply for a Palestinian passport.
Determined to stick back, she finds a job at a restaurant. Here, she meets a young Palestinian waiter Emad. Despite a scholarship awaiting him in Canada, can't get a visa out.
Frustrated and bitter, Soraya decides to take things in her own hands. She, along with Emad and his film-maker friend Marwan, robs the bank to get back what she feels is hers. Running from the law, the trio escapes into Israel. Here, Soraya and Emad visit their ancestral homes.
Some fine moments in the film include the scene where Emad locates the ruins of his family village. Standing amidst a half-standing structure, Soraya and Emad become aware of their intimacy. The moment filled with long gazes and gentle gestures lingers in memory long after the film is over.
Moreover, the scenes at the start — black and white news footage from 1948 of Israeli tanks pulling down houses, panicked refugees running helter-skelter — are also noteworthy. Even the camerawork is brilliant at times, especially the scenes that capture the open spaces and shattered rubble as Soraya travels throughout Jaffa, Ramallah and Jerusalem.
The movie premiered at the 2008 Cannes Film Festival. Since then it has toured numerous festivals and earned awards and acclaim. Overall, it’s the sort of movie which is both informative and thought-provoking. Soraya’s fury, Emad’s despair and moments like a brief glimpse of a baby being passed over a barbed wire border fence from father to mother make it one of the better Palestinian productions in recent times.
Friday, May 15, 2009
High and Low (1963)
Akira Kurosawa, who was a fan of American film noir, adapted High and Low from American author Ed McBain’s detective novel King’s Ransom. The story is of a powerhouse executive in the Japanese shoe industry who lives in a luxurious mansion on a hill overlooking a teeming city. His family becomes the target of a cold-blooded kidnapper. However, what seems like a basic kidnap drama is actually a story about a much deeper theme – of differences between the rich and the poor, employers and employees, husbands and wives; in short, it explores how people relate to each other based on their social status. Kurosawa brilliantly captures the irony of laissez-faire system gobbling economies and its evident effects in the present day planet through the use of shadows, a metaphor of the glaring social gaps.
The protagonist of the story — Kingo Gondo — is faced with difficult moral decisions after a kidnapping. His son was the target, but his chauffeur’s son was taken by mistake. He's hit by a huge ransom demand, paying which will ruin him financially. However, not paying it will ruin his moral values. The kidnapping is followed by the investigations which lead to a not-so-obvious ending.
High and Low is made up of two parts — the first one is about the kidnapping while the second one focuses on the hunt for the kidnapper.
One of the best scenes in the movie is that of Gondo stopping outside a shoe store window to have a look at the merchandise. That one moment underlines the fact that money, position and power don’t mean everything to him; it’s just shoes that he loves.
Technically it’s a brilliant film. Some of the early scenes remind one of Alfred Hitchcock’s usage of confined spaces to build suspense. If the camerawork is great, the soundtrack is brilliant. Primarily one of silence, it adds wonderfully to the gripping suspense.
High and Low is among the most suspenseful of Kurosawa's films. It looks at people across levels in society and their struggles and conflicts.
The protagonist of the story — Kingo Gondo — is faced with difficult moral decisions after a kidnapping. His son was the target, but his chauffeur’s son was taken by mistake. He's hit by a huge ransom demand, paying which will ruin him financially. However, not paying it will ruin his moral values. The kidnapping is followed by the investigations which lead to a not-so-obvious ending.
High and Low is made up of two parts — the first one is about the kidnapping while the second one focuses on the hunt for the kidnapper.
One of the best scenes in the movie is that of Gondo stopping outside a shoe store window to have a look at the merchandise. That one moment underlines the fact that money, position and power don’t mean everything to him; it’s just shoes that he loves.
Technically it’s a brilliant film. Some of the early scenes remind one of Alfred Hitchcock’s usage of confined spaces to build suspense. If the camerawork is great, the soundtrack is brilliant. Primarily one of silence, it adds wonderfully to the gripping suspense.
High and Low is among the most suspenseful of Kurosawa's films. It looks at people across levels in society and their struggles and conflicts.
I’m Not There (2007) — Tangled Up In Bob
This is one movie I’d wanted to watch for a long time!
The only time Bob Dylan’s name appears in the movie is when the opening credits roll out, which describe the movie as ‘inspired by the music and many lives of Bob Dylan’. Here, the phrase ‘many lives’ hold the key, because that’s what film-maker Todd Haynes has done. He has taken a sweep through the enigmatic singer-songwriter’s ‘many lives’ and has depicted those through six actors.
The first ‘Dylan’ is an 11-year-old boy Woody, a black folk singer with a guitar slung over his back. Ben Whishaw is Dylan as the poet Rimbaud. Christian Bale plays Dylan as Jack, a protest singer, who takes the Greenwich village folk scene of the early 1960s by storm. Bale also gets another turn where he plays Pastor John, a reference to Dylan's ‘born-again’ period. The late Heath Ledger plays an actor essaying a Dylan-like figure in a Hollywood film. Then we have Dylan as Billy The Kid (Richard Gere), a bearded recluse. However, the highlight of the movie is Cate Blanchett as Jude – the hard-smokin’, pill-poppin’ caustic rock'n'roll iconoclast. She looks and acts great as Dylan in his trademark shades, wild corkscrew curls and killer cheekbones.
The title of the film is taken from a 1967 unreleased Dylan song I'm Not There. Surprisingly popular Dylan hits like Blowin' In The Wind or Just Like a Woman are absent. Instead, songs like Idiot Wind, Ballad Of A Thin Man and Visions Of Johanna can be heard from time to time.
The DVD comes with a pile of bonus stuff like notes about the movie, director, trailers, behind the scenes, cast, crew and director interviews and more.
Overall, the movie is a wild, roller-coaster ride. Right from the opening scene that refers to Dylan’s motorcycle accident in 1966 to the lengthy end credits with the spine-tingling version of Knockin' on Heaven's Door playing in the background, the movie ties up no loose ends. It lets Dylan stand as a brilliant, evasive enigma highlighting throughout that no one ever made pop music more incandescent than him.
The only time Bob Dylan’s name appears in the movie is when the opening credits roll out, which describe the movie as ‘inspired by the music and many lives of Bob Dylan’. Here, the phrase ‘many lives’ hold the key, because that’s what film-maker Todd Haynes has done. He has taken a sweep through the enigmatic singer-songwriter’s ‘many lives’ and has depicted those through six actors.
The first ‘Dylan’ is an 11-year-old boy Woody, a black folk singer with a guitar slung over his back. Ben Whishaw is Dylan as the poet Rimbaud. Christian Bale plays Dylan as Jack, a protest singer, who takes the Greenwich village folk scene of the early 1960s by storm. Bale also gets another turn where he plays Pastor John, a reference to Dylan's ‘born-again’ period. The late Heath Ledger plays an actor essaying a Dylan-like figure in a Hollywood film. Then we have Dylan as Billy The Kid (Richard Gere), a bearded recluse. However, the highlight of the movie is Cate Blanchett as Jude – the hard-smokin’, pill-poppin’ caustic rock'n'roll iconoclast. She looks and acts great as Dylan in his trademark shades, wild corkscrew curls and killer cheekbones.
The title of the film is taken from a 1967 unreleased Dylan song I'm Not There. Surprisingly popular Dylan hits like Blowin' In The Wind or Just Like a Woman are absent. Instead, songs like Idiot Wind, Ballad Of A Thin Man and Visions Of Johanna can be heard from time to time.
The DVD comes with a pile of bonus stuff like notes about the movie, director, trailers, behind the scenes, cast, crew and director interviews and more.
Overall, the movie is a wild, roller-coaster ride. Right from the opening scene that refers to Dylan’s motorcycle accident in 1966 to the lengthy end credits with the spine-tingling version of Knockin' on Heaven's Door playing in the background, the movie ties up no loose ends. It lets Dylan stand as a brilliant, evasive enigma highlighting throughout that no one ever made pop music more incandescent than him.
Happy Together (1997)
In pursuit of ever-eluding happiness and unrequited love — that’s what Wong Kar-Wai’s Happy Together is all about!
It’s perhaps Wai’s boldest movie to date – a dysfunctional and ultimately doomed gay relationship between two Hong Kong expatriates living in Argentina. However, the biggest irony is in the movie’s title itself because neither is anything happy in the relationship between the two characters Lai Yiu Fai (Tony Leung) and Ho Po Wing (Leslie Cheung), nor are they always together. Their relationship is a continuous process of breaking up and making up.
Getting away from Hong Kong the duo ends up in Buenos Aires, Argentina. While searching for a waterfall they anger each other and go their separate ways. Fai takes up a job at a bar and Wing turns to a life of hustling. Their paths cross again and when Fai sees Wing’s new lifestyle, he is destroyed. Somehow they still find themselves back together, but their relationship fails to stand the test of time and falls apart again.
Fai finds a new job at a restaurant and befriends Chang, a fellow Chinese from Taiwan. Chang’s sincerity helps Lai out of depression. However, Chang soon leaves Buenos Aires and this makes Fai sink into depression again. To combat the loneliness, he starts having sex in anonymous bathrooms and movie theatres.
After a few months, Wing contacts Fai to restart the relationship again. But this time Fai refuses. Eventually, Fai decides to return to Hong Kong. On his way back, he visits Chang’s family. He steals a picture of Chang as a remembrance.
This is the film that cemented Wong Kar-Wai’s reputation as one of the leading film-makers of our time. Christopher Doyle shoots the film in lovely shades of rich, lurid colour. Though set in Buenos Aires, the duo is hardly shown to interact with the Argentines thus reinstating their sense of isolation and emotional estrangement from homeland. Summing up, this is a story of two people who don’t belong and don’t want to belong, and yet are sad at not belonging. Though they could have been happy together, it was never to be.
It’s perhaps Wai’s boldest movie to date – a dysfunctional and ultimately doomed gay relationship between two Hong Kong expatriates living in Argentina. However, the biggest irony is in the movie’s title itself because neither is anything happy in the relationship between the two characters Lai Yiu Fai (Tony Leung) and Ho Po Wing (Leslie Cheung), nor are they always together. Their relationship is a continuous process of breaking up and making up.
Getting away from Hong Kong the duo ends up in Buenos Aires, Argentina. While searching for a waterfall they anger each other and go their separate ways. Fai takes up a job at a bar and Wing turns to a life of hustling. Their paths cross again and when Fai sees Wing’s new lifestyle, he is destroyed. Somehow they still find themselves back together, but their relationship fails to stand the test of time and falls apart again.
Fai finds a new job at a restaurant and befriends Chang, a fellow Chinese from Taiwan. Chang’s sincerity helps Lai out of depression. However, Chang soon leaves Buenos Aires and this makes Fai sink into depression again. To combat the loneliness, he starts having sex in anonymous bathrooms and movie theatres.
After a few months, Wing contacts Fai to restart the relationship again. But this time Fai refuses. Eventually, Fai decides to return to Hong Kong. On his way back, he visits Chang’s family. He steals a picture of Chang as a remembrance.
This is the film that cemented Wong Kar-Wai’s reputation as one of the leading film-makers of our time. Christopher Doyle shoots the film in lovely shades of rich, lurid colour. Though set in Buenos Aires, the duo is hardly shown to interact with the Argentines thus reinstating their sense of isolation and emotional estrangement from homeland. Summing up, this is a story of two people who don’t belong and don’t want to belong, and yet are sad at not belonging. Though they could have been happy together, it was never to be.
The Lover (1992, France)
This French film was all about sex and forbidden passion.
“She gave her innocence, her passion, her body. The one thing she couldn't give was her love,” says the tagline on the DVD cover of The Lover.
Set in 1929 French colonial Vietnam, The Lover, or L’Amant in French, is based on Marguerite Duras’s internationally successful biographical novel of the same title. It traces the intense and passionate love affair between a poor 15-year-old French schoolgirl living in French Indochina (Vietnam) and a 32-year-old wealthy Chinese man.
They meet during a ferry ride across the Mekong River while the girl — who has left her impoverished mother and brothers — is returning to the boarding school to complete her studies. Their attraction is instant. The girl — looking to explore her sexuality — accepts the man’s invitation of a ride in his car and thus begins their doomed relationship. They hardly speak inside the car, but touch each other’s hands. The next day the man waits for her near her school. She walks straight into his car and they head to a room for a sexual encounter — the first of many to follow.
Though she becomes his lover, he cannot take her as his wife because he can’t marry someone outside his caste. The girl’s mother sees this as an opportunity to extort money from the man. Refusing to play the part of a prostitute, the girl goes her own way, but continues the passionate affair.
The film was nominated for Best Cinematography at the Oscars. Jean-Jacques Annaud should be given due credit for the bringing this period piece to life with its stunning visuals. The lavish period sets and evocative photography provide an authentic portrait of 1920s Indochina.
The DVD, released by Shemaroo, comes with a price tag of Rs 349. It contains a booklet that has an introduction to World Cinema, a note on Jean-Jacques Annaud and a brief about the movie.
The film starring Jane March as the teenage girl and Tony Leung Ka Fai as the Chinese man is an engaging one. Its crux is the couple’s consistent denial of the fact that there’s anything to their relationship; they both know that knowledge of their affair will bring drastic consequences to each other. Overall, it’s a beautiful portrait of a turbulent love story.
“She gave her innocence, her passion, her body. The one thing she couldn't give was her love,” says the tagline on the DVD cover of The Lover.
Set in 1929 French colonial Vietnam, The Lover, or L’Amant in French, is based on Marguerite Duras’s internationally successful biographical novel of the same title. It traces the intense and passionate love affair between a poor 15-year-old French schoolgirl living in French Indochina (Vietnam) and a 32-year-old wealthy Chinese man.
They meet during a ferry ride across the Mekong River while the girl — who has left her impoverished mother and brothers — is returning to the boarding school to complete her studies. Their attraction is instant. The girl — looking to explore her sexuality — accepts the man’s invitation of a ride in his car and thus begins their doomed relationship. They hardly speak inside the car, but touch each other’s hands. The next day the man waits for her near her school. She walks straight into his car and they head to a room for a sexual encounter — the first of many to follow.
Though she becomes his lover, he cannot take her as his wife because he can’t marry someone outside his caste. The girl’s mother sees this as an opportunity to extort money from the man. Refusing to play the part of a prostitute, the girl goes her own way, but continues the passionate affair.
The film was nominated for Best Cinematography at the Oscars. Jean-Jacques Annaud should be given due credit for the bringing this period piece to life with its stunning visuals. The lavish period sets and evocative photography provide an authentic portrait of 1920s Indochina.
The DVD, released by Shemaroo, comes with a price tag of Rs 349. It contains a booklet that has an introduction to World Cinema, a note on Jean-Jacques Annaud and a brief about the movie.
The film starring Jane March as the teenage girl and Tony Leung Ka Fai as the Chinese man is an engaging one. Its crux is the couple’s consistent denial of the fact that there’s anything to their relationship; they both know that knowledge of their affair will bring drastic consequences to each other. Overall, it’s a beautiful portrait of a turbulent love story.
Stealing Beauty
Bernardo Bertolucci’s Stealing Beauty was one of the movies that I had been longing to see from a long time. Finally, when I laid my hands on the DVD I couldn’t wait to see it… and guess what… it was a great experience…
Stealing Beauty — released in theatres in 1996 — is a homecoming of sorts for the Italian film-maker. It is his first film shot in his native land since the early ’80s. Now, as part of their home video series, Palador has launched the movie’s DVD.
Stealing Beauty is about Lucy, an American teenager, vacationing on a hilltop villa in Italy with a group of her late mother’s artist friends. She wants to reunite with the Italian boy she fell in love with four years ago during her last visit to the villa. However, her main agenda is to find her father. A dairy of her late mother suggests she was conceived on that hilltop. So who could be her father – the Italian war correspondent who wrote to her mother for 20 years, the dying English playwright or the artist who makes sculptures from trees? Amidst all this Lucy also finds it the perfect atmosphere to loose her virginity.
Lucy’s arrival scene in the villa — where her sexual status instantly becomes the main topic of conversation — lingers in memory long after the film is over. “There’s a virgin in the house,” exclaims one of the characters. Lucy’s entry also affects the other women, who are either challenged or reminded of their youth.
American actor Liv Tyler plays Lucy. The film also stars Rachel Weisz (The Mummy) and Joseph Fiennes (Shakespeare In Love) among others.
However, the true star of the movie is Bertolucci himself. The Italian countryside has never looked more alluring as he’s made it look in every frame. Before starting work on this film, for 15 years Bertolucci — the creator of The Conformist and Last Tango in Paris — lived in self-imposed exile from his homeland. During that time, he worked on his ‘Eastern Trilogy’ – The Last Emperor (1987), which won nine Oscars, The Sheltering Sky (1990) and Little Buddha (1993).
Though he is better known for these films, Stealing Beauty remains one of the most complex, rich and penetrating movie he’s ever tackled.
Stealing Beauty — released in theatres in 1996 — is a homecoming of sorts for the Italian film-maker. It is his first film shot in his native land since the early ’80s. Now, as part of their home video series, Palador has launched the movie’s DVD.
Stealing Beauty is about Lucy, an American teenager, vacationing on a hilltop villa in Italy with a group of her late mother’s artist friends. She wants to reunite with the Italian boy she fell in love with four years ago during her last visit to the villa. However, her main agenda is to find her father. A dairy of her late mother suggests she was conceived on that hilltop. So who could be her father – the Italian war correspondent who wrote to her mother for 20 years, the dying English playwright or the artist who makes sculptures from trees? Amidst all this Lucy also finds it the perfect atmosphere to loose her virginity.
Lucy’s arrival scene in the villa — where her sexual status instantly becomes the main topic of conversation — lingers in memory long after the film is over. “There’s a virgin in the house,” exclaims one of the characters. Lucy’s entry also affects the other women, who are either challenged or reminded of their youth.
American actor Liv Tyler plays Lucy. The film also stars Rachel Weisz (The Mummy) and Joseph Fiennes (Shakespeare In Love) among others.
However, the true star of the movie is Bertolucci himself. The Italian countryside has never looked more alluring as he’s made it look in every frame. Before starting work on this film, for 15 years Bertolucci — the creator of The Conformist and Last Tango in Paris — lived in self-imposed exile from his homeland. During that time, he worked on his ‘Eastern Trilogy’ – The Last Emperor (1987), which won nine Oscars, The Sheltering Sky (1990) and Little Buddha (1993).
Though he is better known for these films, Stealing Beauty remains one of the most complex, rich and penetrating movie he’s ever tackled.
Thursday, May 14, 2009
THE WORLD-CINEMA ORGY
Over the last five days, I happened to see quite a few movies — 11 to be precise. At the end of the week I surprised myself… I had actually spent close to 25 of the last 120 hours in watching movies.
This entire experience left me wanting for more — for more such world-class movies! Because I’ve never seen such great films — each one better than the other — in a long, long time. If I hadn’t watched those, I would have surely missed out on something.
Once the ‘movie orgy’ — as I would like to call it — was over, I decided to devote some time to review each film. And guess what… I surprised myself with the reviews I wrote. I say ‘surprised’ because I’ve never ever written a review before this. So I didn’t know where and how to start. But eventually the brilliance of each movie made it a roller-coaster ride for me — and the reviews turned out quite good… yes, for someone writing a review for the first time, it was indeed a satisfying and enriching experience…
Over the next few blogs, all that I’ve decided to do is publish those reviews one by one.
Here they go… starting with five films of Alfred Hitchcock — the undisputed king of mystery and mayhem.
Of thrills and chills
Mistaken identity, innocents falsely accused, betrayal, hair-raising escapes, double-crosses etc., are some of the recurring themes in Alfred Hitchcock’s movies.
As a tribute to the film-maker, Palador recently launched a collector’s edition boxset of five DVDs containing some of his earliest works. The movies include The Manxman (1929), Blackmail (1929), Murder (1930), The Skin Game (1931) and Rich And Strange (1931).
The Manxman – Hitchcock’s last silent film – is the story of two friends in love with the same woman. Rejected by the girl's father when one of them goes to a foreign land to seek his fortune, the other sees his chance with the girl. The Manxman is remembered for its stunning scenery, shot on location in Cornwall.
Hitchcock made the transition to sound film with Blackmail. Here, a woman accidentally murders a man. She is seen by a criminal. When the woman’s policeman boyfriend is assigned the case, the criminal blackmails them. Hitchcock shot almost the entire film in sound, back-to-back with a silent version for distribution to the many cinemas not equipped for sound. The result was a critical and commercial triumph and confirmed Hitchcock as an acclaimed director.
In Murder, an actor is found standing over the body of a murdered colleague and has no memory of what happened. The jury sentences her to death. One juror disagrees and, using his theatrical skills, probes into the case only to discover the real murderer in a thrilling climax. Hitchcock has a cameo role near the midpoint of the film, as a passerby in front of the house where the murder took place. The film contains a number of innovations, including what some believe to be the first use of a voice-over.
The Skin Game revolves around two rival families. When the aristocratic patriarch of one of families resorts to blackmail to settle a dispute over land rights, it leads to disastrous results. Hitchcock was, reportedly, bored by the project, but entertained himself with one particular shot – the climactic scene – which, however, didn’t even make it into the completed film.
Rich and Strange is about a married couple who go on a world cruise to escape their humdrum lives. But their relationship begins to fall apart when they both become attracted to other people. The film is notable for the techniques utilised by Hitchcock that would reappear later in his career. Most notable are the sets, including a recreation of a full-sized ship in a water tank.
This entire experience left me wanting for more — for more such world-class movies! Because I’ve never seen such great films — each one better than the other — in a long, long time. If I hadn’t watched those, I would have surely missed out on something.
Once the ‘movie orgy’ — as I would like to call it — was over, I decided to devote some time to review each film. And guess what… I surprised myself with the reviews I wrote. I say ‘surprised’ because I’ve never ever written a review before this. So I didn’t know where and how to start. But eventually the brilliance of each movie made it a roller-coaster ride for me — and the reviews turned out quite good… yes, for someone writing a review for the first time, it was indeed a satisfying and enriching experience…
Over the next few blogs, all that I’ve decided to do is publish those reviews one by one.
Here they go… starting with five films of Alfred Hitchcock — the undisputed king of mystery and mayhem.
Of thrills and chills
Mistaken identity, innocents falsely accused, betrayal, hair-raising escapes, double-crosses etc., are some of the recurring themes in Alfred Hitchcock’s movies.
As a tribute to the film-maker, Palador recently launched a collector’s edition boxset of five DVDs containing some of his earliest works. The movies include The Manxman (1929), Blackmail (1929), Murder (1930), The Skin Game (1931) and Rich And Strange (1931).
The Manxman – Hitchcock’s last silent film – is the story of two friends in love with the same woman. Rejected by the girl's father when one of them goes to a foreign land to seek his fortune, the other sees his chance with the girl. The Manxman is remembered for its stunning scenery, shot on location in Cornwall.
Hitchcock made the transition to sound film with Blackmail. Here, a woman accidentally murders a man. She is seen by a criminal. When the woman’s policeman boyfriend is assigned the case, the criminal blackmails them. Hitchcock shot almost the entire film in sound, back-to-back with a silent version for distribution to the many cinemas not equipped for sound. The result was a critical and commercial triumph and confirmed Hitchcock as an acclaimed director.
In Murder, an actor is found standing over the body of a murdered colleague and has no memory of what happened. The jury sentences her to death. One juror disagrees and, using his theatrical skills, probes into the case only to discover the real murderer in a thrilling climax. Hitchcock has a cameo role near the midpoint of the film, as a passerby in front of the house where the murder took place. The film contains a number of innovations, including what some believe to be the first use of a voice-over.
The Skin Game revolves around two rival families. When the aristocratic patriarch of one of families resorts to blackmail to settle a dispute over land rights, it leads to disastrous results. Hitchcock was, reportedly, bored by the project, but entertained himself with one particular shot – the climactic scene – which, however, didn’t even make it into the completed film.
Rich and Strange is about a married couple who go on a world cruise to escape their humdrum lives. But their relationship begins to fall apart when they both become attracted to other people. The film is notable for the techniques utilised by Hitchcock that would reappear later in his career. Most notable are the sets, including a recreation of a full-sized ship in a water tank.
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