Man, it’s been a while since my last Hitchcock; I was unsure if I’d remember what one of his films was like since it had been so long. Foreign Correspondent would be one of Hitch’s first American productions, as well as one of his first nominations for Best Picture, along with eventual winner Rebecca. While this one may not have had the particular might of David O. Selznick behind it, it still managed a nom for the big one, which now that I’ve seen the picture I guess I won’t argue with. I will say, though, that while this was a decent watch, I can’t see myself ever going out of my way to see it again, and seeing how rewatchability is a very big thing for me with films, Foreign Correspondent ends up only barely getting a passing grade from me.
Joel McCrea is Johnny Jones, a reporter with the New York Globe, who gets appointed as a foreign correspondent with the peculiar pen name of Huntley Haverstock and is shipped off to London to get a fresh take on the burgeoning war in Europe. Jones/Haverstock is directed to a shindig thrown for the Universal Peace Party, headed by Stephen Fisher, in honor of a foreign diplomat named Van Meer. At the party, after schmoozing with Fisher’s daughter Carol, Jones discovers Van Meer is missing, and ends up on the trail of a conspiracy to undermine a secret peace treaty Van Meer was a part of; not to mention a potential romance with Carol, if he manages to survive the events that are unfolding all around him. After the first half hour or so, I was a little unenthused with how by-the-numbers the film had been up to then. It was roughly around that point that the film tried to up my interest by throwing a few of the standard Hitch curveballs into the plot, which succeeded if only mildly; I was interested in how the film would end up at its conclusion, but I still wasn’t able to skirt past the notion that the film was tossing its pitches at me for lack of anything else to do or say. It was a mystery with plenty of twists and turns before we get to the ending we get to, but as is often the case with mysteries, once the actual truth behind the twists and turns is made apparent and resolved, there’s no reason to ever take this particular ride a second time. Everything else about the film was serviceable enough, and the production value takes a noticeable upswing near the end with a plane crash sequence, but with everything being merely serviceable, the focus is put even more on the actual twists and turns of the mystery, which (again) only hold up on a first viewing, when we’re not aware of the actual truth behind everything that’s transpiring.
I said in the opener that it was due to the complete lack of rewatchability that this was barely getting a passing grade from me. I might have misspoken slightly; this is a good enough picture in its own right, but it’s unfortunately the kind of picture that, while plenty of effort and value were put into the film (and it shows), doesn’t warrant more than a single viewing. Viewed and judged as a stand-alone experience though, this was pretty good, and that’s at least more than I can say about a lot of the Best Picture filler of years past. I don’t know if I’d nominate this in an open field, or with a reduced category, but it was a nice little piece of entertainment to sit through. Ask me to sit through it a few more times, however, and I might have something less nice to say about it.
Arbitrary Rating: 7/10