The Manxman

This film is one of the finest examples of how refined a medium silent cinema actually was. There is nothing clumsy or primitive in this one, the complicated, almost "soapy" story is told extremely fluently in images alone (with the help of the odd caption).

Granted it does not exhibit the same sort of liberated camera movements than Sunrise or The Crowd, but nevertheless The Manxman has sustained a degree of freshness totally missing from most of the early talkies.

This beautiful film is Alfred Hitchcock's last silent creation. Truly wonderful, this is a bit of a thought piece as the characters struggle with the moral dilemmas inherent in the plot. Should one stay loyal to a friend's trust or choose personal happiness at the expense of another's? Is status and appearance worth the sacrifice? Can love be forced or forgotten? This is a film that leaves you twisted and thoughtful. The actors, particularly Carl Brisson and Anny Ondra, are all wonderfully expressive. Words aren't needed to know what they are saying and what they are feeling. Miss Ondra was ethereally beautiful and heartbreakingly convincing as Kate. Very highly recommend for all true Hitchcock fans and a must for the connoisseur of the silent genre.

Anny Ondra, eh? What a woman.

The plot of Hitchcock's last silent movie reads like a storyline from the unaccountably popular Brit soap 'EastEnders.' Even though she doesn't really love him, Kate (the truly delectable Anny Ondra), a flirtatious pub landlord's daughter, rashly promises to wait for her young beau Pete (a hulking Carl Brisson) to return from Africa where he plans to go to make his fortune after the surly pub landlord refuses him her hand in marriage. She loves Philip (Malcolm Keen), an up-and-coming lawyer who just happens to be Pete's best mate and who also reciprocates her feelings of ardour. Lord only knows what she sees in him though, as he comes across as something of a stuffed shirt and looks like Piers Fletcher-Dervish. Anyway, word comes from Africa that Pete has died, leaving Kate and Philip free to declare their love for one another – something neither had felt able to do when poor old Pete was alive.

Of course, this being an opera of the soapiest kind, it turns out the jungle drums got it wrong and Pete isn't dead after all! He returns to the Isle of Man a wealthier man, instantly making himself more acceptable to Kate's father. Now this is where you'd think Kate and Philip would come clean – after all, they thought Pete was dead – but instead they keep quiet about their affair and Kate marries Pete out of a sense of obligation.

There's plenty more plot to follow, but suffice it to say that a lot of hand-wringing and soul-searching follows. And either Kate and Phil were still at it after Pete returned from Africa, or Pete's too thick to do the maths and release that he was still ocean-bound when his loving wife conceived.

The plot summary above actually makes the film sound more interesting than it really is. Everyone over-acts terribly, and all the characters are too shallowly drawn to be of much interest. The plot grows increasingly silly as coincidence is piled upon contrivance, and the downbeat ending proves an inadequate pay-off.

Hitchcock's final silent, 'The Manxman', has two stars you'll see elsewhere in his films - Carl Brisson, from 'The Ring', and Anny Ondra, from 'Blackmail'. It's a tale of three friends, a promise, a search for riches, and forbidden love. Malcolm Keen plays the friend who finds his loyalties tested while he strives to make good in his chosen career of the law.

Beautifully shot and quite modern in tone, this boasts a lovely performance from Ondra, while Brisson convinces as a fisherman who trusts too much and sees too little. At times this story seems to veer towards the tragic, but has an ending which does work. The Cornish scenery which stands in for the Isle of Man is lovely, while the Hitchcock trademarks are clearly there. Well worth a look and very enjoyable.

Though it is a lesser Hitchcock, "The Manxman" has several strengths, and indeed it could have been a fine film if not for some major flaws in the story. The settings and photography are excellent, the acting is generally good, and the story's setup is believable and had possibilities.

The best part of the movie is the setting on the Isle of Man, which is done very nicely, with well-chosen settings and terrific photography. The setting is woven into the story very well, and many of the scenes are given backgrounds and props which re-emphasize the distinctive setting and/or give useful symbolism to the events in the plot. Fishing boats, an old water mill, and the island's rocky beauty are all used effectively.

The characters are presented well, and you quickly get to know them and sympathize with them. The first part of the story moves quickly, and efficiently establishes the love-triangle theme. The three leads (Carl Brisson, Anny Ondra, and Malcolm Keen) are all quite good in this part.

Unfortunately, the rest of the story is rather a disappointment, moving very slowly at times, and often painful to watch because of some notable flaws in the ways the characters act. All this really detracts from the continuing good direction and camera work. There is a very nicely conceived jump cut at one point that could have been very powerful if the story were better, and the climactic sequence does hold some real irony and suspense, but it just doesn't have the impact that it could have had. Hitchcock does his best with things, but it's too bad that he did not have a freer hand with the material, which was apparently based on a novel that for whatever reason had acquired a certain popularity at the time.

Ultimately, this movie is just average. But there are still some strengths here, and it is probably worth a look for silent film fans who especially appreciate good black-and-white photography, or for devoted Hitchcock fans who will appreciate the touches he added to an otherwise unsatisfying story.