Chapter

<i>The running man: Hitchcock's fugitives and</i> The Bourne Ultimatum

John Orr

in Romantics and Modernists in British Cinema

Published by Edinburgh University Press

Published in print April 2010 | ISBN: 9780748640140
Published online September 2012 | e-ISBN: 9780748671090 | DOI: http://dx.doi.org/10.3366/edinburgh/9780748640140.003.0003
The running man: Hitchcock's fugitives and The Bourne Ultimatum

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This chapter focuses on the central figure in Anthony Asquith's fugitive film A Cottage on Dartmoor: the ‘running man’ in talking pictures. Today we would find this fugitive figure in The Bourne Ultimatum (2007), a film most would think American, but is in part British, made with a partly British crew and a Surrey-born director, Paul Greengrass. The Running Man is also the title of Carol Reed's 1963 feature whose fugitive hero is disappearing conman Laurence Harvey in a film most would rate as one of Reed's weaker films, a pallid echo of The Third Man (1948). It is a term Raymond Durgnat appropriated for his study of fugitive films in A Mirror for England. Both The Bourne Ultimatum and Alfred Hitchcock's Number Seventeen are studies in non-identity with Macguffins to match. Two key films before Hitchcock's shorts were popular dramas of internal treachery: Alberto Cavalcanti's Went the Day Well? (1942) and Thorold Dickinson's The Next of Kin (1942). Hitchcock's four other fugitive films are Bon Voyage, Aventure malgache, Stage Fright and Frenzy.

Keywords: Alfred Hitchcock; Paul Greengrass; The Bourne Ultimatum; A Cottage on Dartmoor; running man; fugitive films; treachery; Went the Day Well; The Next of Kin; Bon Voyage

Chapter.  9190 words.  Illustrated.

Subjects: Film

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