Foreign Correspondent 1940 123movies

Watch: Foreign Correspondent 1940 123movies, Full Movie Online – Johnny Jones is an action reporter on a New York newspaper. The editor appoints him European correspondent because he is fed up with the dry, reports he currently gets. Jones’ first assignment is to get the inside story on a secret treaty agreed between two European countries by the famous diplomat, Mr. Van Meer. However things don’t go to plan and Jones enlists the help of a young woman to help track down a group of spies..
Plot: The European war was only beginning to erupt across national borders. Johnny Jones, an American crime reporter dispatched by his New York publisher to put a fresh spin on the drowsy dispatches emanating from overseas, has a nose for a good story—which promptly leads him to the crime of fascism and Nazi Germany’s designs on European conquest. In attempting to learn more about a seemingly noble peace effort, Jones walks into the middle of an assassination, uncovers a spy ring and—not entirely coincidentally—falls in love.
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Ratings:

	7.5/10 Votes: 21,239
	95% | RottenTomatoes
	88/100 | MetaCritic
	N/A Votes: 295 Popularity: 7.08 | TMDB

Reviews:

If you enjoy this review, please check out my blog, Old Hat Cinema, at https://oldhatcinema.medium.com/ for more reviews and other cool content.

Alfred Hitchcock’s second American picture, Foreign Correspondent (1940), has quite literally everything you could ask for in a great movie. To categorize it, one might say it’s an espionage thriller. But really, that covers merely the basics of what the film is all about. It’s got suspense, adventure, romance, humor, heroics, and a cast that couldn’t be improved upon if you tried!

In contrast, Hitchcock’s first American picture was the well-done, if somewhat plodding, Gothic thriller Rebecca. While Rebecca is still an excellent film in its own right, boasting the talents of Laurence Olivier, Joan Fontaine, and others, it isn’t nearly as exciting or action-packed. Foreign Correspondent is the more important of Hitchcock’s films, made at the start of WWII, and a clear call for American entry into the war at that time. Rebecca may have won the Academy Award for Best Picture of 1940, but Foreign Correspondent was the more deserving film.

It’s 1939, and Europe is on the brink of war. An American reporter named Johnny Jones is sent to England as foreign correspondent for the New York paper he works for. He takes on the pseudonym Huntley Haverstock and is soon investigating the ostensible assassination of an important diplomat, uncovering a Nazi spy ring in the process.

Heading the cast are Joel McCrea and Laraine Day, two fine actors who are highly underrated today. The two of them maintain a good chemistry as the film progresses, and the supporting players are equally accomplished. George Sanders, that “dreadful man,” plays a wisecracking freelancer named Scott ffolliott, and gives a remarkable performance. Robert Benchley, as McCrea’s fellow foreign correspondent Stebbins, co-wrote the script, and is said to have written much of his own dialogue. There’s also Edmund Gwenn, cast against type as an affable Cockney hit man, and he makes the most of his short, but nonetheless important, role.

And, in his second film with Hitchcock, we have Herbert Marshall, in a truly great performance. I’ll have to leave it at that — because given half a chance, I could rattle on about the dear old chap for hours.

There are so many superbly crafted sequences in the movie, but I’ll mention just a few here. There’s the “umbrella scene,” where McCrea chases an assassin through a crowd of bystanders, getting lost amid the dozens of umbrellas. The windmill sequence, in which McCrea and his sidekicks find themselves alone in an open field, windmills softly turning with the breeze … or against the breeze, in the case of one such suspicious grinding mill, is marvelously shot. To add to the sense of urgency and danger, a single plane flies overhead. When McCrea sends Day and Sanders to fetch the police and enters the windmill himself, it’s one of the tensest parts of the film. Thirdly, when two men masquerading as police officers arrive at McCrea’s hotel room with malicious intent, he cleverly outwits them and escapes through the window, finding himself balanced precariously on a ledge far above the streets of London below … and dressed in his bathrobe. He proceeds to accidentally short circuit two of the letters in the hotel’s neon sign, reducing HOTEL EUROPE to HOT EUROPE, with a flourish that is purely Hitchcockian.

There’s also one brief but precious scene which for the most part probably goes unnoticed by audiences. During the car chase where McCrea meets Sanders, the assassin’s car rips around a corner, almost hitting a poor old man trying to cross the street. He steps back onto the curb just in time, and as he tries to cross again, our heroes go flying by, narrowly missing the man as well. As he tries to cross for a third time, a whole squad of policemen on motorcycles tear down the street, and the man, thwarted yet again, escapes back to the safety of the curb, turns around, and goes back inside his house. To the average viewer, it’s just one fleeting moment in the midst of an exciting, high-speed chase, but to be frank, the sequence had me in stitches; a glorious example of comic relief.

After a rollicking adventure across the continent of Europe, approaching two full delightful hours for the viewer, Foreign Correspondent reaches its climax in the form of a plane crash into the middle of the Atlantic Ocean … and one of the principal characters gives his life in a touching show of sacrifice.

So do yourself a favor, if, like me, you are a lover of great cinema, and enter this Hitchcockian world. Good triumphs over evil, witty banter abounds, romance blossoms, villains are heroes, and adventure awaits!

Alfred Hitchcock presides over quite a fast paced jigsaw-puzzle of a film with this gripping WII espionage thriller. Joel McCrae is the American reporter “John Jones” who is despatched by his editor to get decent news coverage of what’s going on in war-threatened Europe. No sooner has he landed than he becomes embroiled in the affairs of the mysterious “Peace Party” leader “Van Meer” (Albert Bassermann) who may (or may not) have been gunned down and who may (or may not) have been party to a treaty that could change or even avert the course of war. Together with fellow journo George Sanders (“ffolliot”) they become more deeply involved in this complex and intriguing mystery having to avoid just about everyone as they struggle to get to the truth. Herbert Marshall “Fisher” and his daughter “Carol” (Laraine Day) complete the quintet of principal characters ably as the whole story twists and turns in a structured and enthralling manner. There are red herrings, but they are not wasted – there is a thread to the story that ties them all together quite neatly as we begin to get to grips with who is to be relied upon – and who is not! The writing is not the most potent – too many contributors seem to lead, on occasion, to a battle of wordiness that I found just a little distracting; but Hitch is on form and there are plenty of tense scenarios to keep us all interested. Good stuff!

Thrill Ride On A Mission
Alfred Hitchcock directed many great movies, but few testify to his ability at marrying suspense, action, and comedy as does “Foreign Correspondent,” a film which coincidentally carries Hitchcock’s boldest political statement: That neutrality doesn’t work when others are bent on war.

Joel McCrea stars as American newspaperman Johnny Jones, sent to Europe on the eve of World War II by the newspaper’s publisher precisely because he’s a man of action unschooled in politics and economics, “someone who doesn’t know the difference between an ‘ism’ and a kangaroo,” the old publisher declares. Jones goes along with the idea, even with changing his byline to the pompous “Huntley Haverstock,” because as he puts it, “give me an expense account, and I’ll cover anything.” Fate intervenes when a photographer apparently murders Europe’s last hope for peace right in front of Jones, spurring the reporter to react in a way that leads to a series of outrageously precarious and double-crossing incidents culminating in a plane crash-landing into the Atlantic Ocean.

Hitchcock arrived in the U.S. with a flourish, his first Hollywood movie being the Oscar-winning “Rebecca,” and this his second that same year, 1940. Some back in Great Britain complained Hitchcock’s leaving his native country as it faced Hitler all alone was desertion, but Hitchcock was doing all he could for King and Country, as “Foreign Correspondent” pulls all the stops to shake American viewers from their neutrality.

That sort of desperation would ruin most films, but here it only prods Hitchcock to singular and repeated acts of inventiveness as he shakes the tree. We see Jones climb out the window of the Hotel Europe, knock out the letters “EL” to underscore the film’s message, and find his way into the hotel room of the girl he has been trying unsuccessfully to woo. There’s an assassination in the rain and shot from above so we see little more than wet hats and umbrellas, and a long sequence inside a creaking windmill that has you thinking our hero’s about to be discovered by the bad guys every 20 seconds. The film feels more vital for sequences like this: You can’t imagine anyone trying to get away with this, yet Hitchcock keeps pulling it off.

Then there’s the other revolutionary element of the film, its humor, ever-present throughout the picture in a way that doesn’t cut against the grain of the suspense so much as amplify it, by keeping you off-guard and invested in the action. This is best exemplified by Edmund Gwenn’s plummy turn as an evil assassin (no spoiler, he’s introduced to us that way) bent on killing Jones, but so affable and borderline-snarky in his menace you can’t root against him as much as you’d like to. As Gwenn’s Rowley leads Jones up a church steeple to set up an accident, you wonder how Jones will get out of it but still chuckle at how Rowley tries to keep Jones from going back down: “You must see the ‘orse guards!” Gwenn is one of two fantastic examples of reverse casting, the other being George Sanders as a good guy named ffolliett.

Hitchcock is very careful in presenting the bad guys. He never says they’re Germans, though the implication is obvious. The chief baddie is ruthless but not without decent impulses, in a way that mirrors but goes beyond Willy in his later “Lifeboat.” Hitchcock knew when the film was released, he would be attacked by those who wanted to keep appeasing Germany. For “Foreign Correspondent” to be successful, it needed to bring the audience along without noticing the ride, laughing with and pulling for Jones right up until the moment he does a radio broadcast in London while bombs burst around him, an eerie foreshadowing of what Edward R. Morrow would be doing for real only days after “Foreign Correspondent” opened in theaters.

You can’t help but admire a film that was on the right side of history, but “Foreign Correspondent” may play better now than it ever did because of the way its pure cinema techniques work today, a style Tarantino and Leone admirers will no doubt recognize and appreciate, but that anyone can enjoy.

Other Information:

Original Language en
Runtime 2 hr (120 min), 1 hr 55 min (115 min) (Spain), 1 hr 38 min (98 min) (cut) (West Germany)
Budget 0
Revenue 0
Status Released
Rated Passed
Genre Action, Romance, Thriller
Director Alfred Hitchcock
Writer Charles Bennett, Joan Harrison, James Hilton
Actors Joel McCrea, Laraine Day, Herbert Marshall
Country United States
Awards Nominated for 6 Oscars. 1 win & 6 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Western Electric Mirrophonic Recording)
Aspect Ratio 1.37 : 1
Camera N/A
Laboratory N/A
Film Length (13 reels), 3,031 m (Netherlands)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm