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Three Philosophical
Filmmakers

Hitchcock ,
Welles,
Renoir

Irving Singer
Three
Philosophical
Filmmakers
Books by Irving Singer

Three Philosophical Filmmakers: Hitchcock, Welles, Renoir

Feeling and Imagination: The Vibrant Flux of Our Existence

Sex: A Philosophical Primer

Explorations in Love and Sex

George Santayana, Literary Philosopher

Reality Transformed: Film as Meaning and Technique

Meaning in Life:
The Creation of Value
The Pursuit of Love
The Harmony of Nature and Spirit

The Nature of Love:

Plato to Luther
Courtly and Romantic
The Modern World

Mozart and Beethoven: The Concept of Love in their Operas

The Goals of Human Sexuality

Santayana’s Aesthetics

Essays in Literary Criticism by George Santayana (editor)

The Nature and Pursuit of Love: The Philosophy of Irving Singer

(edited by David Goicoechea)
Three
Philosophical
Filmmakers
Hitchcock, Welles, Renoir

Irving Singer

The MIT Press

Cambridge, Massachusetts
London, England
© 2004 Irving Singer

All rights reserved. No part of this book may be reproduced in any form by
any electronic or mechanical means (including photocopying, recording, or
information storage and retrieval) without permission in writing from the
publisher.

This book was set in Palatino by The MIT Press and was printed and bound
in the United States of America.

Renoir image: Courtesy Atheneum Press. From My Life and My Films by

Jean Renoir, 1974.
Hitchcock image: Courtesy Editions Cahiers du Cinema. Originally pub-
lished in Hitchcock at Work by Bill Krohn.

Library of Congress Cataloging-in-Publication Data

Singer, Irving.
Three philosophical filmmakers : Hitchcock, Welles, Renoir / Irving Singer.
p. cm.
Includes bibliographical references and index.
ISBN 0-262-19501-1 (alk. paper)
1. Hitchcock, Alfred, 1899–1980—Criticism and interpretation. 2. Welles,
Orson, 1915–1985—Criticism and interpretation. 3. Renoir, Jean, 1894–1979—
Criticism and interpretation. I. Title.
PN1998.3.H58S54 2004
791.4302'33'0922—dc22 2003066630
To my friends, new and old, at MIT and Harvard
Contents

Preface ix

Some Preliminary Remarks 1

Alfred Hitchcock 7

Orson Welles 77

Jean Renoir 147

A Family Portrait 221

Notes 259

Index 271
Preface

Since readers of my writings on film have wondered how to

categorize them, a few words about my intentions may be help-
ful. Some reviewers have characterized Reality Transformed: Film
as Meaning and Technique, the prequel to this book, as an essay
in philosophical “humanism.” That terminology is, however,
somewhat misleading and in need of clarification. In this book,
as in its predecessor, my humanism is mainly an attempt to
show the many means by which cinematic art depends upon
the creative expression of different insights into the human con-
dition. My own perspective may presuppose a focused doctrine
or general world outlook, as would anyone else’s, but more
immediately I wish to see how it can elucidate this art form and
the possible ways of experiencing it.
The burden of the book is quite straightforward. Beginning
with my previous claim that in art as a whole, and in film
specifically, various problems of aesthetics and ontology disin-
tegrate once we recognize the extensive interdependence
between meaning and technique, I apply this approach to the
work of the three filmmakers. I have chosen them because, in
part, they are quite diverse among themselves. Moreover, all
three are valued nowadays as masters of their craft. After the
first chapter explains more fully why they interest me, the
x Preface

chapters that follow deal with their individual thoughts about

the movies they made, the nature of art, the lives they led as
filmmakers, and the world in which they lived. The productiv-
ity and the history of these men can, and should, be studied in
other ways as well. My way of studying them is philosophical
and humanistic insofar as I seek to understand their ideas and
their vision as consummate artists.
Other filmmakers make a cameo appearance in my story,
and I sometimes include analyses of their work. The Welles
chapter, for instance, contains a lengthy discussion of John
Huston’s The Dead and its source in James Joyce’s novella with
the same title. Some people may think of those pages as an
interlude within the harmonic texture of the book. I have no
objection to their being read in that fashion. But they also serve
an essential function in relation to the multiple strands of
thought indigenous to my argument. Digressive as such excur-
sions may sometimes seem, they play an integral part within
the enterprise as a whole.
Among the people whose comments on this material have
been of help to me, I am especially grateful to Herbert
Engelhardt, Alvin Epstein, John Hildebidle, Richard A.
Macksey, Martin Marks, Anne W. Singer, Ben Singer, Emily S.
Singer, Josephine F. Singer, Saam Trivedi, Michael Wager, and
David F. Wheeler. I am also grateful to students in my courses
at MIT who lived through earlier drafts, sometimes contribu-
ting unknowably to them; and to Michael Shinagel and
Marjorie Lee North, formerly master and co-master of Quincy
House at Harvard, who allowed me to test my developing
ideas about this and other books in talks to members of their
Senior Common Room.

I. S.
Some Preliminary Remarks

In Reality Transformed I sketched a critique of formalist as well

as realist theories of film. In the last hundred years they have
had many followers among sophisticated writers about
cinematic art. The contrasting emphases in these different
perspectives have often nourished fruitful controversy.
Throughout my book I sought to adjudicate among the varied
versions of the two positions while looking for a way of
harmonizing them that might preserve the reasonable claims
in both. My concluding chapter outlined an alternative theory
of film in an attempt to show how realists and formalists can
benefit from each other’s point of view. What follows here
augments that effort without presupposing that the reader has
much familiarity with its earlier formulation.
In moving from the earlier book to this one, I apply my
speculations about the aesthetics and ontology of film to the
work of three of the most renowned practitioners in that art
form. I chose them in accordance with several criteria. First, I
wanted representative “auteurs,” directors whose mind and
character retain a discernible identity throughout their output,
sometimes to a greater extent, sometimes less so, but usually
evident and ongoing. Since films are the product of many
2 Three Philosophical Filmmakers

people who collaborate in their making, they can rarely be

ascribed to a single auteur who is comparable to an individual
poet or painter or composer. Above all in relation to the “studio
system” and the invasive, though subtle censorship that dis-
tributors and producers impose in the name of the bottom line,
no one on the set may possibly have the degree of autonomy
that is still available in those other media. Nevertheless, some
outstanding filmmakers have managed to mold their creations
in ways that make them recognizable as more or less their own.
The auteur question will recur as we proceed, but I confess
in advance that I may have prejudiced my case by choosing
filmmakers whose achievements are obviously unique and
plausibly judged as uniform in their totality. Given the nature
of my quest, it is not surprising that the three directors I am
studying usually served in several capacities—as screenplay
writers or adaptors of literary texts, as directors who could be
producers as well, and not infrequently as actors who also
participated in the cinematography, the lighting, and the con-
tribution of the art department. With this kind of versatility,
they attained a power to show (with variable success) what-
ever vision of the world they wished to convey. They
expressed their personal sense of reality through techniques
that were available at the time and that they were especially
proficient in deploying. By focusing on the general outlook of
these filmmakers, who were also talented theorists, we can see
how pervasively their methodologies transcend the disparity
between realism and formalism. Or rather, how their transcen-
dence of this disparity is manifest in their separate kinds of
harmonization within the parameters they set for themselves.
One might additionally argue that these three are correctly
thought to be “great” filmmakers because of their preeminent
Some Preliminary Remarks 3

ability to unify realist and formalist attitudes. They do so in a

manner that is idiosyncratic to each; and yet, they are alike in
developing from film to film recurrent, though evolving, ideas
they cared about as creators and as human beings. By consider-
ing what they found meaningful in life as well as the techniques
by which such meaning had structural importance in their
films, we may be able to detect the philosophical significance
in at least a considerable part of the work they did.
Like many other artists, the three filmmakers I have
selected would probably recoil at the notion that they had
“philosophical” pretensions. Quoting the words of Henry V in
Shakespeare’s play, they might well exclaim: “We are but
warriors for the working-day.” That is true, and it is certainly
the case that none of them pontificates about eternal verities or
the analytical niceties of academic philosophy. They usually
think of themselves as storytellers, as dramatists, as tech-
nicians in visual imagery, and above all as craftsmen trained to
fashion and present cinematic effects. But none of this
precludes their also being philosophical inasmuch as they
infuse their productions with a profound perception of, and
concerted interest in, the human condition as they knew it. As
in all creative endeavors, the criterion of ultimate value
depends upon the fecundity of their inventive imagination.
Moreover, Alfred Hitchcock, Orson Welles, and Jean Renoir
are particularly intriguing because they left behind writings
about film that have not been studied much thus far. Collected
in recent books, these writings normally purport to deal with
their own movies and their involvement in them. As a matter
of fact, however, the filmmakers also comment on the nature of
film itself, on other art forms, and on civilized as well as
natural phenomena in life. Unlike the majority of other great or
4 Three Philosophical Filmmakers

near-great filmmakers, they articulate beliefs that reveal the

remarkable breadth and depth of their speculative minds.
What I find most encouraging, their theorizing is almost
always concrete, not abstract, and grounded in their own
cumulative history of acquired knowledge within their chosen
field.
Beginning with Hitchcock, I argue that he is much more
than just a formalist enamored of the technical devices that he
employs so effectively. In his hands they attain a meaning,
whatever it may be, that lesser filmmakers do not achieve. At
the opposite extreme from Hitchcock, I end with Renoir
because his use of cinematic artifice constantly furthers his pre-
occupation with thematic meaning while preventing it from
becoming tendentious or prosaically realistic. Welles has a
niche somewhere between Hitchcock and Renoir. While being
what he called “a man of ideas” like the other two, he arrived
on the scene much later than they did and progressively syn-
thesized the film experience of both.1 I do not mean that Welles
sums up or completes their accomplishments, or is a better
maker of movies. Despite his coming last, he can be seen as a
bridge between them. While remaining an authentic originator
in himself, he incorporates the formalist components in
Hitchcock as well as the realist elements in Renoir.
Discussing the thinking of these artists, my initial point of
departure is what they explicitly maintain on one or another
occasion. In view of their influence and undoubted stature,
even their casual remarks are worthy of our attention. All the
same, I realize that the essays and interviews on which I draw
were sometimes written long after these artists finished the
movies they are interpreting in later years. Also one can never
be sure that their accounts of what they did, or even of what
Some Preliminary Remarks 5

they thought they were doing in the sometimes distant past,

are entirely reliable. I am willing to take that risk because the
relevant productions are so engaging and so clearly the offer-
ings of very exceptional, though possibly representative,
exemplars of their time and place. Apart from the utility of the
filmmakers’ statements as windows into their individual exis-
tence, these statements function—in one fashion or another—
as valuable clues about the content of their films and the
culture from which such artworks emanate. For that reason
alone, what these three said and allowed to be printed
warrants continual investigation.
With this as my basic principle, I analyze aspects of their
movies in conjunction with the filmmakers’ comments,
without any necessary assumption about the validity of these
comments. Only occasionally do I give an exhaustive treatment
of the films themselves. In relation to most of the movies I
discuss, a vast and often detailed critical literature has come
into being with that aspiration. My book presents itself as an
addendum to the excellent work that has already enriched this
ever growing branch of film studies. I cite a few of its impor-
tant instances in the three middle chapters, and in the family
portrait I try to see how my previous discussions can be
integrated with some of the suggestive books and articles
about Hitchcock, Welles, and Renoir that others have
published thus far.
In view of his manipulative intent, Hitchcock’s work might be
considered the product of a Frankenstein or proto-fascist who is
extremely talented in arousing emotional responses by means of film
technology. One may even think that the artistic purity Hitchcock
sought is inherently dehumanizing.
Alfred Hitchcock

Throughout his interviews and writings about his films,

Hitchcock often describes himself as someone who merely
provides entertainment to an interested public. He is being
truthful in saying this, not unduly modest. But then, we may
ask from the very outset, does that prevent his being considered
an artist whose aesthetic goals are worthy of serious investiga-
tion? Received opinion holds that entertainment, however suc-
cessful it may be, is oriented toward the purveying of pleasure
(in the broadest sense) rather than providing relevant and
possibly profound insights about humanity as it searches for
values that give meaning to life. That is what art does, we have
often heard, as distinct from entertainment.
If we accept this view, if we believe that art and entertain-
ment are inherently incompatible, or at least separate from each
other, it might seem foolish to think that Hitchcock’s films have
philosophical scope and can be studied for their conceptual
value. We may recognize the technical adroitness they often
manifest, but that alone would not warrant treating his movies
as anything more than highly effective divertissements.
In opposition to any such approach, I suggest that it con-
tains a confusion about what is or is not philosophical as well
8 Three Philosophical Filmmakers

as being misguided in relation to both art and entertainment.

Art need not be dreary or coldly didactic, and there is nothing
in the idea of entertainment that necessarily excludes the pres-
entation of a meaningful perspective as one of its legitimate
possibilities.
In great art the philosophical, also in the broadest sense of
the word, not only accompanies whatever elements that
entertain a receptive audience but also permeates the aesthetic
fabric of the work itself. Art becomes philosophical when it
offers probing insights into our reality that are valuable to
people who have learned how to appreciate them. Not always
but not infrequently, entertainment is capable of awakening
our susceptibility to new ideas. It does that through an
immediacy of comprehension that causes them to be quickly
digested and fully savored. It may even evoke reactions that
generate in the recipients personal yet appropriate ideas of
their own.
When this happens, entertainment is integral to the
achievement of artistic truth while also being a vehicle that
conveys this type of truth. In that event, the formal structure
through which a film (or any other work of art) succeeds in
entertaining becomes the expression of an outlook that has
conceptual import over and beyond the profundities that may
or may not belong to its referential content. Hitchcock’s art is
worth studying because it shows the worthlessness of com-
monplace dichotomies between form and content which have
been ordained or assumed by most traditional aestheticians.
To say this much, however, is to say that we can disregard
Hitchcock’s ritual statements about his intentions. In one place
he repeats Sam Goldwyn’s assertion that messages should be
sent by Western Union, not by the movies his studio makes.
Alfred Hitchcock 9

One need only reply that communications—whether aesthetic

or otherwise—involve much more than just the sending of
“messages.” That term signifies a very special kind of commu-
nication, and therefore only a meager portion of what is signif-
icant on any level in both art and entertainment.
One theorist from whom Hitchcock originally learned his
craft as a director was Sergei Eisenstein. From his formalistic
approach Hitchcock attained a refined awareness of how
cinematic effects can exercise great influence over the reactions
of an audience. Eisenstein sought to use the artificial devices of
film as a means of disseminating the director’s ideological
perspective through techniques that manipulate the feelings of
a moviegoing public. Like other formalists of his period, he
extolled the capacity of films to do something to the mind and
responsiveness of their patrons. For Eisenstein this usually
meant enunciating a political program by means of the mes-
merizing technology in film, which is incessantly transforming
reality toward that end.
Hitchcock does not try to impart overtly propagandistic
ideas, though he often inserts a vaguely democratic aura within
his formal design. What he gleans most notably from Eisenstein
is the conviction that a filmmaker’s subtle use of the camera can
grip the impulses and even purposive attitudes of almost
anyone who observes the finished product. Eisenstein did what
he did in the hope of getting people to engage in action that
would have importance to them as moral and social beings.
Hitchcock does not think of his audience in that way. He treats
them merely as individuals who can be induced to undergo
strong emotions that may have little relevance to either their
political beliefs or communal involvement. In this sense,
Hitchcock is a more puristic formalist than Eisenstein himself.
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