Jung und unschuldig

I hold with what seems to be the majority opinion here, i.e. that this early Hitchcock effort is a neglected gem. Though certainly not as well-done as some of his more noteworthy movies, I found it to be thoroughly captivating and entertaining, with the blend of suspense and humor that one finds in, say, "To Catch a Thief" or "Family Plot". Derrick deMarney as the romantic lead does a particularly fine job; sort of a foreshadowing of the kind of thing Cary Grant later did so well.

One thought is that the title is perhaps a bit of a double entendre; we always associate the phrase "Young and Innocent" with a female, but the story is really about the attempt of the lead character - a young man - to prove his innocence. Then again, is he really the lead, or is the story about the girl after all? I'm sure Hitch intended this touch of ambiguity.

Once again I have to thank American Movie Classics for bringing us another worthy movie from the past. Hitchcock fans should not miss this one (come to think of it, the only dog that I have seen from Hitch is "The Paradine Case").

Sort of a blueprint for any number of later, more bloated Hitchcocks: The man falsely accused of murder; the sympathetic miss who helps him, the set pieces in creepy places. This one has a lighter, more picaresque feel than most of the Master's movies, with irrelevant but diverting supporting characters, Maguffins, an unstarry cast, and an unusual dollop of humor. It's also blessed by a screenplay that leaps nimbly from improbability to improbability, as much as its more famous contemporaries, like "The 39 Steps" or "The Lady Vanishes."

The light tone throughout tips us off that everything's going to turn out all right, so there's less suspense than we associate with Hitchcock. Still, it's beautifully photographed (with one really stunning crane shot), beautifully paced, and enjoyably acted. The unstoried Nova Pilbeam is a standout: She's the ideal Hitchcock heroine, blonde, slender, and spirited.

I have always been partial to Hitchcock's British films (Murder, Blackmail, 39 Steps, et al) and I consider this one another star in the crown. Granted, it may not be as sophisticated as his later films but few films from the 30's are. It has a certain charm and suspense that will hold your interest.

This film is filled with Hitchcock's cadre of actors that he used again and again in his early films.....and what a group they are! Nova Pilbeam (The Man Who Knew Too Much) was a rather strange looking girl but is perfect for the part of the young woman who helps a stranger; Percy Marmont (Secret Agent) as her father; Mary Clare and Basil Radford (The Lady Vanishes) as the aunt and uncle; John Longden (Blackmail) in his usual role as the detective......all these players are top drawer. Derrick de Marney is rather effete as the man on the run but is very effective in the part.

Several scenes are particularly outstanding. The opening beach shots are beautifully done and the chase is on! You hold your breath in the sinking car scene even though you know that Miss Pilbeam won't be lost so early in the story, unlike Janet Leigh in Psycho. But of course, the long tracking shot in the hotel as it zooms in on the drummer man is the one that most people remember and talk about. It's dynamite.

The rural setting is delightful and Hitchcock seldom used that slice of life in his films (with the exception of The Manxman). That may be what gives the film it's more easy going pace, it's more casual feel. Regardless, Young and Innocent (which is a rather awkward title), holds up after 66 years as just another example of the artistry of the Master. Enjoy it....it's worth it.

Another wrongfully-accused-man-on-the-run tale from Hitchcock, this time starring Derrick De Marney as a singer accused of murder. He escapes custody with hopes of clearing his name, and gets some unexpected help from Erica (Nova Pilbeam), the daughter of a police inspector. With Percy Marmont, John Longden, Edward Rigby, Mary Clare, Basil Radford, George Curzon, George Merritt, Bill Shine, and Torin Thatcher.

This was becoming well-trod territory for Hitchcock even back in '37, and De Marney & Pilbeam don't quite have the screen charisma of Donat & Carroll, but this is still enjoyable if one keeps their expectations in check. There's some miniature work featuring some trains and cars, and suspenseful mine collapse. The finale, with a band in blackface, may keep this one on the lesser-shown list. Pilbeam was 17 when this was filmed, while her romantic onscreen partner De Marney was 31.

This is a good Hitchcock film, but on the lighter side. The acting may be disputed (certainly many dispute about it!), but in my opinion it is a very solid, entertaining, and well-acted picture. It does have much of Hitchcock about it (not surprisingly) and is well worth watching. All of the classic Hitchcock elements are there, and they fit together wonderfully: the musical score, the camera work, the twists and turns in the plot, the thrilling scenes, the build-up, the director himself ... and not to forget the story! This is built up very carefully, and contains many, many interesting side-glances and elements. But one needs to watch the film very carefully, or more than once, in order to find these. It is indeed a sort of '39 Steps', and a precursor to several later Hitchcock films, but in its own way it occupies a place rather different than any other Hitchcock film. I am referring to a certain 'bucolic' atmosphere, which is perhaps only equalled by 'The Trouble With Harry'. The parallels to this film have perhaps not yet been adequately explored.