The 39 Steps

Nearly every era in Hitchcock's directing career has incredible strengths. When we view a later film like "North by Northwest" we are tempted to say that "The 39 Steps" is simply a training film for the bigger budget, star studded film that came later. This is not true. This movie stands on its own. With wonderful actors like Robert Donat and Madeline Carrol, we are led on an intense ride, culminating in a crowded theater. There are amazing shots of the characters weaving their way through crowds, close ups used strictly for the purpose of moving the plot. With Hitchcock there is no excess. He is a poet with a camera. As the tension mounts and Donat's character becomes swept away in its arms, we are taken with it. His wisecracking character is out of words and must act, just as Cary Grant did in the aforementioned film. There is something lurking and we have to find out who it is and why does he need to know what he knows? I've seen this many times and will see it again.

Trust and betrayal have been a recurrent theme in several of Alfred Hitchcock's works. The 39 Steps, made in 1935, has the all the classic elements of the master filmmaker that set the standard for later Hitchcock films. The 39 Steps has the classic Hitchcockian theme of an average, innocent man caught up in extraordinary events which are quite beyond his control. The sexually frustrating institution of marriage is another major motif present in the film. The strained and loveless relationship between the crofter and his wife, the placid relationship of the innkeeper and his wife, the (physical) bond between Hannay and Pamela can be examined in terms of degrees of trust between the couples. In fact, the short 'acquaintance' between Hannay and Smith and Hannay and the crofter's wife are also built completely upon trust. It is these couples, and the chemistry between them (or the lack thereof) that drive the entire film.

Over a span of four days, the smart and unflappable protagonist, Richard Hannay (Robert Donat) is involved in a circular journey to prove his innocence and expose the hive of intrigue. He is involved in chases and romantic interludes that take him from London to the Scottish Highlands and back again and he assumes numerous identities on the way - a milkman, an auto mechanic, a honeymooner, a political speaker among others.

The opening of the film, the first three shorts do not show him above his neck. With his back to the camera, he is followed down the aisle to his seat. He is then assumed to be lost in the crowd. This gives the audience the feeling that he could be anybody. Later when he takes in the identities of a milkman, a mechanic, a politician one realizes that he is Hitchcock's archetypal 'everyman' who unwittingly finds himself in incredible dilemmas.

In one of the brilliantly managed sequences on the train, Richard Hannay throws himself at a lone girl and forces a kiss just as a detective and two policemen pass by their compartment. It reveals his desperation to remain free until he can prove his innocence. In the scene after Annabella staggers into his room with a kitchen knife in her back, Hannay sees her ghostly image (which is superimposed) talking to him, `What you are laughing at right now is true. These men will stop at nothing.' The double exposure achieves a result which is a tad chilling and sad. The hallmark of Hitchcock's style is his ability to completely shock his audience by deliberately playing against how they would be thinking. In such episodes as the murder of the woman in Hannay's apartment or when the vicious professor with the missing finger casually shoots Hannay, the action progresses almost nonchalantly leaving the viewers stunned.

A great story, interesting and likeable characters, slyly incongruous wit, classic Hitchcockian motifs and a great MacGuffin are just a few things that make the The 39 Steps the quintessential Hitchcock.

While I personally prefer Hitchcock's darker, more troubling movies, especially 'Vertigo' and 'Psycho', as far as his straightforward thrillers go 'The 39 Steps' is still one of his most entertaining. The man on the run because of false accusations or "knowing too much" motif may or may not have been invented here, but it certainly influenced dozens of subsequent thrillers, all the way up until contemporary movies like 'Enemy Of The State' and 'Minority Report'. Robert Donat makes a great hero, and Madeleine Carroll is charming and funny as his reluctant partner. The chemistry and repartee between the two is something that has been copied countless times since. Some people seem to regard 'The 39 Steps' as a practice run for Hitch's later 'North By Northwest', but I prefer the earlier movie. It may not be complex and deep, but it's great fun, and full of old fashioned movie magic. A classic thriller that is still wonderfully entertaining, and should prove to be enjoyable to almost everyone who watches it. Recommended.

...with Robert Donat as a Canadian ex-pat living in London who gets accused of murder. He goes on the run, avoiding the authorities in hopes of clearing his name, with the trail leading to the Scottish countryside. He eventually ends up involving a reluctant Madeleine Carroll. With Lucie Mannheim, Godfrey Tearle, Helen Haye, Wylie Watson, John Laurie, and Peggy Ashcroft.

Highlights for me: the Scottish Highlands, Madeleine Carroll removing her stockings while handcuffed to Donat, and Peggy Ashcroft's brief turn as the unhappy wife of a country farmer. Donat's easy charm and affable demeanor foretell the similar performances by Stewart and Grant in Hitchcock's later thrillers. There are some glaring plot-holes (why don't the villains deal with Donat when they off the woman in his apartment at the film's start?), but they can be ignored thanks to the pace of the proceedings.

The Criterion DVD bonus features include commentary by Hitchcock expert Marian Keane; a "visual essay" by Hitchcock expert (how many are there?) Leonard Leff; Hitchcock: The Early Years (2000), a short British documentary; excerpts from a 1966 British TV interview; more audio-only excerpts of Truffaut's Hitchcock interviews; a booklet/essay from critic David Cairns; and the complete Lux Radio Theatre adaptation, with Ida Lupino and Robert Montgomery. Truly the best way to see it, and thus why I bring it up.

Alfred Hitchcock followed up his first international success, The Man Who Knew Too Much with an even better film, The Thirty Nine Steps. Hitchcock must have had a particular fondness for this film because I see elements of it North By Northwest, Saboteur, and Torn Curtain.

There is no director in the history of the cinema who liked a good chase film better than Alfred Hitchcock. This one's a beauty with a wrongly accused of murder Robert Donat, running from London to Scotland and back again to find some spies to clear his name. Along the way Donat picks up a lovely and first unwilling traveling companion in Madeleine Carroll who is arguably the first of his blonde heroines.

Donat and Ronald Colman rivaled for roles somewhat, they seem always to be cast as the same type of characters. Of course Donat worked primarily in the UK and on stage while Colman was strictly a movie actor since the silent days. Colman is the only other guy who could have done this and other Donat parts. It's a pity there are none like either of these guys around today.

When Geoffrey Tearle thinks he's disposed of Donat by shooting him, Donat's life got saved by a hymn book in his breast pocket. Whether that was a device in the original novel by John Buchan or something Alfred Hitchcock improvised the inspiration for it was definitely taken from the attempted assassination of former President Theodore Roosevelt in 1912. While running for president on the Progressive ticket that year, Roosevelt was shot in the chest in Milwaukee. What saved his life was a copy of his speech and an eyeglass case in his breast pocket.

The whole thing here is how the espionage is being carried out and I won't reveal it. But if you've seen Torn Curtain remember why Paul Newman was the only guy they could send on that espionage mission.

This is probably Hitchcock's best film from his pre-Hollywood period and shouldn't be missed.