39 escalones

From the perspective of 2007, British cinema in the 1950s appears more notable for its supporting players rather than its leading lights, and Thomas's remake of The 39 Steps is no exception... look beyond Moore's 2D Hannay and we find a delicious roll call of character turns: De Banzie's aging nympho', Brook's enigmatic 'spook', Cruickshank's foolish sheriff and especially Joan Hickson's hilarious turn as Miss Dobson, all giggling gawkishness with sensible hair and shoes (look at Miss Marple, and then review Hickson's cinematic career - a real unsung hero if ever there was one). Even the schoolgirls on the train are familiar (Carol White became Loach's Poor Cow; Stranks was a 70s 'Magpie' presenter).

Not a patch on Hitchcock's original nor the faithful 1978 interpretation, but as a snapshot of British 50s cinematic talent it's a must!

Having recently re-read John Buchan's (short) novel "The 39 Steps" and already owning the 1935 and 1959 videos, a reappraisal seemed appropriate. While the '59 version is a delightful movie, it is a long way removed from the novel. On screen, Kenneth More is more Kenneth More than Richard Hannay. There are one or two "I don't think so" scenes such as Perce's (Sid James) attitude to a wanted killer. But we'll let that pass. You have to look at the production in its own right, because as a movie version of the book, it just doesn't make it. The Hitchcock version was much better in that respect. However, the Kenneth More film is utterly enjoyable as a bit of light drama. Certainly the underlying plot is worthy and overall, I'd give it 7 out of 10.

The 39 Steps is directed by Ralph Thomas and adapted to screenplay by Frank Harvey from the novel of the same name written by John Buchan. It stars Kenneth More, Taina Elg, Brenda De Banzie, Barry Jones, Reginald Beckwith and Faith Brook. Music is by Clifton Parker and cinematography by Ernest Steward.

Some found it hard to differentiate this interpretation of the classic novel from the superb Alfred Hitchcock version made in 1935. Which is a shame because on its own terms this is a fun packed mystery boosted by More's effervescent charm.

Story is a cracker, Richard Hannay (More) finds himself up to his neck in espionage after a mysterious lady is stabbed to death in is flat. Trying to get to the bottom of the mystery puts him in grave danger and takes him North to Scotland, where he hopes he can clear himself of the suspected murderer rap - and unravel the words he heard - The 39 Steps.

No! It isn't as good as Hitch's film, choosing to replace out and out suspense with a more humoristic approach, but the chase yarn aspects are briskly directed by Thomas, and the Scottish locations provided a wonderful backdrop to the fun drama. This same year Hammer Films put a different spin on The Hound of the Baskervilles, with fine results. So it be with the Rank Organisation and this take on the Buchan story. Good fun and well worth a look if you haven't seen it before. 7/10

It's quite possible to enjoy this 39 Steps, but it helps to see it fresh, without any recent memory of the 1935 Hitchcock version. That one is a classic of suspense, charm, testy romance, and surprises, abetted by two fine performances from Robert Donat and Madeleine Carroll. This 1959 Kenneth More vehicle maintains more-or-less the same plot line and contains some very good piece parts. While it doesn't add up to being in the same league with its elder sibling, it's good enough for a pleasant hour-and-a-half entertainment.

When a nanny Richard Hannay (More) had met accidentally earlier in the day is murdered in his rooms after telling him there is an international plot involving ballistic missiles, he realizes he will be blamed by the police. So, after looking through the dead woman's purse and discovering a map where Glenkirk in Scotland is circled, off he goes to see if he can discover the man behind the plot...a man with part of a finger missing. What Hannay encounters along the way is a suspicious school teacher, Miss Fisher (Taina Elg), who turns him in on the train going to Scotland; a fortune teller; an all too knowledgeable professor; two killers; a clever escape while handcuffed to Fisher and, finally, the secret only Mr. Memory, a music hall performer, can unlock.

The movie has several good elements, especially the charm and confidence of Kenneth More as Hannay; some wonderful Scottish scenery (the movie is in color); great train rides and one exciting train escape; a ripely eccentric performance by Brenda de Banzie as a fortune-telling realist who helps Hannay; a menacingly friendly appearance by Barry Jones; a funny performance by Joan Hickson as a twittering school teacher that reminded me of a middle- aged Miss Marple on amphetamines; and an all too brief performance by Faith Brook as the nanny. For nostalgia buffs, the movie opens with the great J. Arthur Rank gong doing its reverberating thing.

Sadly, there is little chemistry between More and Elg. She most often only looks irritated. The spirit of the movie aims for light-hearted charm mixed with thrills, something More was very good at. To make the movie work, however, director Ralph Thomas and his editor needed to bring more energy to many of the thrills. Often the music score is used to set the tone, which is not always matched by the pace of the movie. To give Thomas credit, he was capable of delivering some menacing thrills as well as some fine, broad comedy. If you can track them down, The Clouded Yellow (1951), for romantic thrills and menace, and Doctor in the House (1954) and Doctor at Sea (1955), for comedy, are well worth viewing.

If you like Kenneth More and don't mind a relatively undemanding but pleasant adventure, you might enjoy this movie. I did. If you are one of those movie goers who fixate on how awful remakes of classics are, and indignantly make comparisons, this one will probably give you conniptions.

An enjoyable adventure, notable for good location shots of London, not the obvious tourist's traps, and the highlands of Scotland. Having identifiable locations increases the local tourist trade, many people want to visit the"scene of the crime".

Does it matter that the film didn't follow the book too carefully. Was it entertainment in its own right, or do we want to follow the scenes and dialogue, like some old theatre and concert goers with their carefully annotated "libretti". No,the movie industry stands on its own feet, and of course it uses literature. Didn't the original author not take classical themes, innocent man accused of criminal activity, trustworthy persons in power turn out to be the baddies, boy meets girl, loses girl, refinds girl. There really cannot be total originallity in any modern work of creativity, all is based on what has gone before.

Thirty nine steps, a ripping good yarn, to be enjoyed in the spirit in which it was offered.