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Agrega una trama en tu idiomaA gang of thieves gather at a safe house following a robbery, but a detective is on their trail.A gang of thieves gather at a safe house following a robbery, but a detective is on their trail.A gang of thieves gather at a safe house following a robbery, but a detective is on their trail.
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The plot of this early Gothic/comic thriller by Hitchcock will make your head spin. It is about as convoluted as possible, with multiple cases of mistaken identity, role-switching, cons and counter-cons. A detective has gotten a lead on a very expensive necklace which has disappeared, and expects to find it, along with the perpetrators, in an old, somewhat decrepit house. A couple of innocent bystanders wander in and find one of these characters knocked unconscious, and the rest eventually begin to pour in through the front door bit by bit, or through the ceiling, as the case may be.
Eventually, the entire cast will end up in a mad chase between a runaway train carrying the bad guys and a bus commandeered by the good guys (or so it seems).
Thoough not one of Hitchcock's best early films, Number 17 is certainly amusing and contains a lot of intentional comedy that many critics seem to want to ignore, keeps a steady, if hectic, pace and boasts some pretty affective use of miniatures for the 1930s. Recommended for fans of pre-noir thrillers and British comedy.
Eventually, the entire cast will end up in a mad chase between a runaway train carrying the bad guys and a bus commandeered by the good guys (or so it seems).
Thoough not one of Hitchcock's best early films, Number 17 is certainly amusing and contains a lot of intentional comedy that many critics seem to want to ignore, keeps a steady, if hectic, pace and boasts some pretty affective use of miniatures for the 1930s. Recommended for fans of pre-noir thrillers and British comedy.
During his apprentice years as a director Alfred Hitchcock took all kinds of assignments, many times directing items that originated on the stage like Juno And The Paycock. Number 17 got an increase of ten in the title, it was originally a play written by Joseph Jefferson Farjeon and when it got to Broadway in 1926 it ran for about a month with a cast you would probably not know. The play itself takes place only in the abandoned house where various folks congregate on a dark night. Several are jewel robbers, one is a detective. Just who is who is not really fully revealed until the end.
Hitchcock really liked trains, he did much better with them in The Lady Vanishes and even better than that in North By Northwest. The British film industry was a lot poorer than the American one, but the fact he's using model electric trains in his high speed climax is rather obvious.
With the exception of Barry Jones who played the off balance nuclear scientist in Seven Days To Noon, no one in the cast will be any kind of familiar to the American audience. The story which is always essential to me is really hard to follow. You might take one or two viewings and you still might not get it all right.
Hitchcock really liked trains, he did much better with them in The Lady Vanishes and even better than that in North By Northwest. The British film industry was a lot poorer than the American one, but the fact he's using model electric trains in his high speed climax is rather obvious.
With the exception of Barry Jones who played the off balance nuclear scientist in Seven Days To Noon, no one in the cast will be any kind of familiar to the American audience. The story which is always essential to me is really hard to follow. You might take one or two viewings and you still might not get it all right.
That is sad because Alfred Hitchcock was/is one of the greatest and most influential directors of all time. None of his films seen(there are still some to go) are truly awful films but he did make some disappointments. And Number Seventeen is one of them, of Hitchcock's films it is in my bottom 3 along with Juno and the Paycock and Jamaica Inn. But it is a little better than those two, because it actually does feel like Hitchcock, but unfortunately not Hitchcock at his best. The best thing is definitely the climatic train chase sequence, it is very Hitchcockian and is suspenseful, fast-paced and thrilling. The lighting and use of shadows are striking and there is some nice spooky atmosphere going on. Anne Grey is also quite good in her role, the only one of the cast who stands out in a good way. Everybody else in the cast has acting that comes across as stagy and overacted, the character of Ben is very annoying. The editing ranges from erratically jerky to sloppy, making Number Seventeen one of Hitchcock's least audacious films. There are some of Hitchcock's touches like the McGuffin and the final twenty minutes, but there is really the sense that his heart was not in it and that he had little interest in the film. The script has the odd bit of black humour, which is more nice rather than funny, but too much of the script is stilted. The story suffers from being convoluted, things being left underdeveloped and under-explained due to the too short length and pacing that is, especially in the first third of the film(the final twenty minutes is really where Number Seventeen really comes to life), as creaky as nearly broken floorboards. Overall, Number Seventeen is far from truly disastrous but a disappointing misfire for the Master of Suspense. 4/10 Bethany Cox
The picture deals with a deserted house in London as scenario where we find a suspecting hobo (Leon Lion , film producer and he played similar role at stage) , a young girl called Nora (Grey), a detective and a gang of thieves involving the robbery of a necklace . This early British film (shot before ¨39 steps¨) contains humor , tension , action with superb ending pursuit and results to be quite entertaining . It's a comical thriller with parody elements and suspense appears threatening and lurking in every stairs , corridor , hallway and rooms . The movie gets a Germanic expressionist atmosphere in lights and shades creating dark scenarios . Runtime is short-time for that reason is quickly seen ; one hour , approximately . As the famous interview Truffaut-Hitchcock , he said this film was a disaster , he contracted several cats for shooting scenes at home but they wander and was impossible to control them for its numerous proprietaries . The film has various Hitchcock touches as well as the ¨McGuffin¨ , this time seem to be the robbed necklace ; furthermore , the overlong and exciting chase sequence of a train and a bus realized with a maquettes and miniatures . Thirty four years later , Hitchcock will repeat bus pursuit in ¨Torn curtain¨ . His screenwriter Alma Reville ,Hitchcock's wife , wrote a confusing and no well developed screenplay . The following Hitchcock film would be his first great success :¨The man who knew too much¨.
Early Alfred Hitchcock film that finds a bunch of criminals gathered at a house following a jewel robbery. Hot on their tail is a detective and as the tension mounts and suspicion begins to take a hold, it unravels that all is not as it at first seemed.
Hitchcock didn't want do do it, he got lumbered with it, and later in his career he would remark that the film was a disaster. While that statement is not exactly true, it is a bit of a mess of a film, but such is Hitchcock's standing in cinema, we can now view it and appreciate some nice touches whilst acknowledging it's an odd blend of chaos and drama. First two thirds is set in one darkened house full of shadows, suspicious characters and creaky dialogue. There's impressive expressionistic photography to enjoy, which is good since nothing makes much sense and it's so murky it's hard to follow the plotting. Then the story breaks out to become a pursue and chase thriller, where a number of vehicles enter the fray with a mix of models and footage blended together for desired exciting effect. Then on to the reveal and it's end credit time. Wrapped up neatly in just over an hour.
The good moments make it worth the watch, especially for Hitchcock fans who get a little taster of what would come from him further down the line. But it isn't essential Hitchcock viewing and ultimately the great director's displeasure with it says far more than any critical reviews can. 5/10
Hitchcock didn't want do do it, he got lumbered with it, and later in his career he would remark that the film was a disaster. While that statement is not exactly true, it is a bit of a mess of a film, but such is Hitchcock's standing in cinema, we can now view it and appreciate some nice touches whilst acknowledging it's an odd blend of chaos and drama. First two thirds is set in one darkened house full of shadows, suspicious characters and creaky dialogue. There's impressive expressionistic photography to enjoy, which is good since nothing makes much sense and it's so murky it's hard to follow the plotting. Then the story breaks out to become a pursue and chase thriller, where a number of vehicles enter the fray with a mix of models and footage blended together for desired exciting effect. Then on to the reveal and it's end credit time. Wrapped up neatly in just over an hour.
The good moments make it worth the watch, especially for Hitchcock fans who get a little taster of what would come from him further down the line. But it isn't essential Hitchcock viewing and ultimately the great director's displeasure with it says far more than any critical reviews can. 5/10
¿Sabías que…?
- TriviaAlthough this film was a box-office failure in 1932, it later had admirers. One of them was the movie historian William K. Everson. In an Everson and Sir Alfred Hitchcock interview in 1972, Everson showed his admiration for this movie, and also praised the bus and train chase scene. Hitchcock was delighted by Everson's enthusiasm, and went on to explain how one of the sequences in the bus and train chase scene was shot.
- ErroresBarton and Nora's hands are tied to the railing behind them, but after they fall backward through it they're hanging with their hands in front of them.
- ConexionesFeatured in Elstree Story (1952)
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Detalles
- Tiempo de ejecución
- 1h 6min(66 min)
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.20 : 1
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