respond? At first, with considerable criticism; but then, the style is appropriated by the
studio system, such that by the mid 1940s, deep focus shooting itself becomes
incorporated into the classical style. The Stranger clearly belongs to that later era.

28 Spiegel was also considered quite devious in the way he would persuade actors to join
his films. An anecdote usually recounted about Spiegel is that he would tell Charles
Boyer that Ginger Rogers and Charles Laughton had agreed to do the picture and then tell
Rogers that Boyer and Laughton had already accepted the deal. By the time they all
found out about the little trick, they would all have signed up for the picture. In fact,
Sinclair notes that "his talent for persuading people to do what he wanted to do or invest
in him became part of the Hollywood vocabulary. To be 'spiegeled' meant to be soothed,
cajoled, or conned" (43).

29 Here, I am quoting the detective in Ellery Queen's The Chinese Orange Mystery, who
is being quoted by Ray (Andy Hardy 182).

30 Truffaut sees Hitchcock's film as a kind of joke. But rather than deconstruct the
Hitchcock canon, it only reinforces it. According to Dixon, what may be seen as an
anomaly that could not fit the auteurist version of Hitchcock, Truffaut argues instead that
the auteur must "in order not to get bored or repeat himself, invent extra difficulties,
create new disciplines for himself, so that we find, in his most recent films, an
accumulation of thrilling limitations that are always brilliantly overcome" (Early
Criticism 97). It should be noted that this is precisely the kind of assimilating tendency of
auteurism that Bazin disputed.

31 At least three of these versions were recently released on a Criterion DVD, which
includes three half-hour episodes of the radio program, The Lives of Harry Lime (itself a
spin off show of the movie The ThirdMan), upon which Mr. Arkadin was based.

32 I am assuming that the association is entirely coincidental, since Allen Smithee was not
"born" until 1969, when the name was first used as a stand-in directorial credit for Robert
Totten and Don Siegel's Death of a Gufighter (1969), fourteen years after the initial
release of Mr. Arkadin.