Desesperación

I don't think it is as good as North By Northwest and Rebecca, but Stage Fright was a great film, and this is coming from a Hitchcock fan. The photography is beautiful, and so is the music, making some scenes like the one in the taxi very touching. The script is well crafted, and while you think you know what's happening, the final solution is very unpredictable. My only complaint for the film was the last couple of minutes, the film just ended abruptly without a rounded finish or even a monologue. I liked the story, about a man who is accused of murder and a friend of his sets out to clear his name, it is well told, and doesn't have a sense of contrivance, and I did fear it would do. As for the acting, I had very little problem with it, Jane Wyman was perfectly alluring as Eve. Michael Wilding delights as "Ordinary Smith", and while he started off a tad wooden, Richard Todd was fine too. Two of the film's stars impressed me the most though. One was Marlene Dietrich, who was deliciously frosty as the stage actress and singer Mrs Winstead. I find Dietrich quite captivating, with her lovingly designed clothes, beautiful face and distinctive voice, I thought she was a great actress. The other was Alistair Sim, who I consider the best Scrooge ever, with George C. Scott close behind- he had some very funny moments, the most notable one being at the garden party and the doll stall. Even Hitchcock himself has a cameo 30 minutes into the film, as does his daughter Patricia. I didn't know until the end credits, that Kay Walsh, Nancy in Oliver Twist, played the maid. All in all, a very overlooked film, that is actually very clever. It isn't Hitchcock's best, but it is a very good film. 9/10 Bethany Cox

This movie gets a very much undeserved amount of flack for being a lessor work of Hitchcock. I can see why it might not appeal to some people, being character driven rather than having children being chased by rampant birds or someone being attacked by a serial killer in an old lady's wig. The performances here are all excellent especially Jane Wyman and Marlene Dietrich as Charlotte Inwood, perhaps the laziest girl in town but also the most flamboyant. The secondary characters are also in fine form and make memorable impressions that adds to the enjoyment factor of this film. I don't know why some people feel tricked after watching the movie, seeing and believing are two different things, especially in an Alfred Hitchcock movie!

I had never heard of this movie before and had low expectations. However, I was amazed at what a wonderful movie it is. Not only is it "Hitchcocky" and suspenseful, it is also humorous and touching. Jane Wyman and Richard Todd did particularly well in this film. I do not usually like Marlene Dietrich, but I have to admit that she did a splendid job as the flamboyant theater star. This movie is set in London, and Hitchcock did a wonderful job of picking out the crew's British actors and actresses such as Alistair Sim and Michael Wilding. Surprisingly he even gave his own daughter, Patricia Hitchcock, a bit part towards the end. It is too bad "Stage Fright" is not more well known, and I highly recommend it.

"Stage Fright" has become one of my favourite Hitchcock movies. Even though it's not in the same league as "Psycho" or "Rear Window", it's still an extremely delightful piece of film making.

What makes it so enjoyable is the wonderful cast, which was mostly unknown to me before. Jane Wyman makes a lovely heroine for the audience to care about, and Marlene Dietrich is a riot as the stage diva, although I was a bit skeptical toward her at first. The scenes between Alastair Sim and Sybil Thorndike as Wyman's eccentric parents are hilarious. Richard Todd is perhaps a bit weak as the suspected murderer, but not distractingly so.

All in all, I find this a far more preferable watching experience than some of his more acclaimed films like "Notorious" or "The Birds" which are kind of cold and sterile. See it if you have the chance.

What a great flick. At times ill-paced, but the performances more than make up for it. What's not to love? Doe-eyed Jane Wyman shifts effortlessly between the roles of aspiring dramatist to lovestruck protectress of Richard Todd to infiltrating false maid of Marlene Dietrich. Managing also to string along Michael Wilding, as the ubercool Inspector "Ordinary" Smith, she might sound like some cold calculating wench who uses up people like Marlene goes through hats. But that wouldn't be strictly accurate. Her Eve Gill is sweet and naive, but her gentler qualities are tempered with a genuine acting talent that allows her to juggle identities with the slyness of a fox-chameleon hybrid. The scene at the garden party when she switches from Dietrich's cockney maid to Smith's innocent date with every turn is delightful.

It is the masterful presence of the great Alastair Sim, however, that makes Stage Fright one of Hitchock's most enjoyable to watch. Few actors have his ability of making the most average of dialouges sound like a powerful oration, and as Eve's doting father, he makes the movie. His Commodore Gill is always at the ready to harbor a fugitive, clip off a snappy witicism, or scrounge blackmail money for his beloved daughter. He is equally at home playing comic relief as he is to serving as the plot glue that makes Eve's capers possible. But live with his wife? Thank you, no! He is content to live on his boat. Whether he is staging an amusing diversion to aid Eve, dispensing sage bits of fatherly advice, or merely strolling out in public, the man bleeds coolness with every move.

Some can argue that Stage Fright gives but an average treatment to the usual whodunnit murder-suspense formula that Hitchcock (and countless others) have used. This is perhaps true. But compared to the whole lot of crappy facsimile suspense films made since 1950, Stage Fright is quicker to entertain than most.

Be sure to check it out if you want to see Hitch cast his own daughter Patricia in the supporting role of "Chubby Banister." Is that some kind of sick joke or was that name flattering in the fifties?

P.S.-- I can't watch Marlene Dietrich anymore and not be reminded of Madeline Kahn's Teutonic Titwillow. Is there some free therapy I can get for this?