Can You Hear Me Now?

Some tropes and plot twists are eternal in movies, but there are other once-familiar devices that have somehow faded away.

When was the last time, for example, that you saw a character in a movie of recent vintage place a handkerchief over the mouthpiece of a phone to disguise his or her voice?

If you’re young enough and aren’t an avid movie buff, you may never have seen such a scene.

But as any fan of motion pictures from the Golden Age of Hollywood can attest, it’s a device that was used over and over, in thriller after film noir after mystery film.

And yet, we’ve never heard anyone question the validity of this practice. Since childhood, we’ve scratched our head over this one, and we have long wondered if we were alone in questioning it.

What mystical property could a pocket handkerchief possess that allows it to magically alter a voice until it is unrecognizable?

For those who really don’t have a recollection of seeing such a scene, we’re offering a snippet of a 1953 film noir, The Blue Gardenia. In this film, Anne Baxter is the subject of a police dragnet on suspicion of murder (though they’ve not yet identified who she is, exactly). In this scene, she calls a newspaper columnist (Richard Conte), who has made an offer via his column to help the “Blue Gardenia” (as the papers have dubbed the unidentified suspect) to tell her side of the story, to exonerate herself of the crime.

And when Baxter calls, she uses—you guessed it—a handkerchief to disguise her voice.

When we watched The Blue Gardenia recently (for what must have been our fifth or sixth viewing), we decided it was time to put the handkerchief method to the test, once and for all. And we’ve done just that below.

1. Without the handkerchief 


2. With the handkerchief 


The first audio file was recorded without a handkerchief. We simply spoke a few lines of movie dialogue (ones that you will very likely recognize) directly into our iPhone 8.

The second audio file was recorded exactly the same way, only we placed a cotton men’s handkerchief over the phone’s mouthpiece. You can judge for yourself by listening to the two audio files, but for our money, the two files sound remarkably similar. If anything, the second one sounds better, clearer. Not exactly the effect the characters in all those movies were looking for.

So many old movies, so many handkerchief-over-the-mouthpiece scenes. So many lies!

This Cladrite Classic was first published on March 16, 2011.

Film Forum fetes Fritz's hits

If you’re anything like us and you happen to reside in or around New York City, you plan to make an almost daily pilgrimage to West Houston over the two weeks for “Fritz Lang in Hollywood,” a two-week retrospective at Film Forum.

The GermanAustrian-born Lang would be a revered figure in cinematic history even if he’d never set foot in Southern California. Such influential classics as Metropolis (1927), Spione (Spies, 1929), the Dr. Mabuse trilogy, and M (1931) ensure that.

But Lang became a very important director in the United States, too, beginning with his first Hollywood feature, Fury (1936), starring Spencer Tracy and Sylvia Sidney, which closes the Film Forum series as the 22nd of Lang’s 29 Hollywood pictures to be shown.

While in Hollywood, Lang showed a penchant for cinematic takes on pulp fiction—films noir, westerns, thrillers and espionage adventures—but he never settled for by-rote takes on these familiar genres. He gave his pictures a very particular look and dark mood, with the Expressionism of his making films in Germany clearlly influencing his American efforts.

You can’t go wrong with any of the bills during the series, but we especially recmommend the aforementioned Fury on Feb. 10; You Only Live Once (1937), starring Sidney and Henry Fonda, which is paired on Feb. 9th and 10th with Lang’s gangster musical (!) You and Me (1938), and three terrific noir double-bills: The Woman in the Window (1944)/Scarlet Street (1945 on Jan. 30, House by the River (1950)/The Blue Gardenia (1953) on Feb. 8, and the series-opener, The Big Heat (1953)/Human Desire (1954) on Jan. 28-29, both of which star noir royals Glenn Ford and Gloria Grahame.

If you’re familiar with Lang’s work, you’ve no doubt already got this great retrospective marked in your calendar. If you’re not, clear your calendar now and check out the series’ full line-up to plan which pictures you intend to see. You can thank us later.