Chelsea the Cinéaste

In  Life ’s feature on the bizarre case of Christopher Emmanuel “Manny” Balestrero, a bashful, honest, family-loving string bass player of the then snazzy Stork Club, who was arrested for crimes he never committed, Herbert Brean, the writer, supposes the inconceivable event possessing the “somnambulist quality of a bad dream.” Alfred Hitchcock, basing a film on the incident three years later, conferred on the “bad dream” a touch of Kafkaesque disquietude. Though jettisoning much of the suspenseful streak that characterises his style, Hitchcock introduces in  The Wrong Man  (1956) a new suspense that is induced by a palpable sense of emotional detachedness. For years to come this would ultimately evolve to a semi-documentary approach of impassive-observing that culminates in the menacing sobriety of Psycho . To enhance the desperation of a tangled, never-ending nightmare, Hitchcock pardonably distorts a few facts to give rise to the dramatic. In the film, Manny’s quest of provi

Frank Capra’s  It Happened One Night  (1934) comes as a perfect antidote to the seemingly endless crises and depression of present age. It celebrates love and happiness at their incorruptible states; affirms the existence and possible prevalence of “pure-at-hearts” goodness, and restores hope to a world that has shown signs of incurable damages. Even when seeing the film now under a slightly different social context, its counter-Depression positivism can seem at times too implausible a pipe dream. Ellie’s (Claudette Colbert) utilitarian kindness towards the hunger-stricken mother and son is largely induced by and acted on the strength of Peter’s (Clark Gable) disposition to boastful jests- he flaunts the money and pretends to be a millionaire; she responds on cue and squeezes that money into the hand of the son. Ironies like this indicate a discrepancy between the privileged and the destitute that is only going to widen: charitable instincts come more easily for those who are impe