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Romantics and Modernists in British Cinema$
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John Orr

Print publication date: 2010

Print ISBN-13: 9780748640140

Published to Edinburgh Scholarship Online: September 2012

DOI: 10.3366/edinburgh/9780748640140.001.0001

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The running man: Hitchcock's fugitives and The Bourne Ultimatum

The running man: Hitchcock's fugitives and The Bourne Ultimatum

(p.25) Chapter 2 The running man: Hitchcock's fugitives and The Bourne Ultimatum
Romantics and Modernists in British Cinema

John Orr

Edinburgh University Press

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

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