Stage Fright

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?

With such an unusual set of components, it was probably inevitable that "Stage Fright" would be a little uneven, but most of it works well enough. By Hitchcock's standards, it's average at best, but it is still an entertaining movie with an interesting story and a number of good sequences.

Simply seeing the distinctive persona of Marlene Dietrich and the enjoyably unique style of Alastair Sim in an Alfred Hitchcock film would make for an interesting combination in itself. They are joined by a generally solid group of performers, with their own individual styles, and there are several characters who all get fairly sizable roles.

Hitchcock's own approach here is a somewhat surprising contrast from his usual style of story-telling, and some of the developments must have seemed even more unexpected to the movie's original viewers. Another aspect of this is that for much of the movie none of the characters really takes and holds the focus, and as a result there are times when it seems to lack some flow.

Yet there are a number of good points to it as well. There are plenty of the usual Hitchcock details that make things more interesting, and most of the cast members give good performances in themselves. Most of Hitchcock's movies are rather better than this one, but watching "Stage Fright" is still a better use of one's time than watching the weak present-day efforts in the genre.

Eve Gill (Jane Wyman), an aspiring actress studying at The Royal Academy of Dramatic Arts is interrupted in the middle of a rehearsal by her friend, actor Jonathan Cooper (Richard Todd), with whom she is secretly attracted. The frantic Jonathan explains that he is the lover of flamboyant stage actress/singer, Charlotte Inwood (Marlene Dietrich). Eve Gill will stop at nothing to clear her old boyfriend , who has been accused of murdering the husband of his mistress. Jonathan flees from the police taking refuge in his friend's house. Along the way, she's helped by her father (Alistair Sim). Disguising as a maid she falls in love with the investigating detective (Michael Wilding). Every time I'm beginning to think what color your eyes are, you disappear!. The Stage is Set for Warner Bros. Most Exciting Hit Yet!. Love held its breath as sudden terror held the stage!. Hands that applaud can also kill!

A gripping and suspenseful new greatness from Warner Bros that contains thrills, emotion , intrigue , twists and turns. An underrated Hitch thriller in which the killer of a famous actress's husband remains unidentified until the final, hectic and suspenseful moments. It is based on a novel by Selwyn Jepson , the special operations major who recruited many wartime agents, including Violette Szabo. Here Hitchcock uses his particular sense of suspense to involve the viewer in a plot full of traps. Main and support cast cast are pretty good, giving decent acting. Stars Jane Wyman who's very nice as the young who will stop at nothing to discover the murderer, she made this film right after winning a well-deserved Oscar for Belinda, costars Richard Todd as the man on the run from a murder rap and Alastair Sim's own special brand of humour steals the show, he's given fair play as he starts to diagnose the cause of foul play. And the German idol Marlene Dietrich who sings ¨The laziest gal in town¨. It also include Sybil Thorndike, Kay Walsh, Miles Malleson, André Morell each apparently determined to act the other off the screen. The rest of the cast , Hector MacGregor, Joyce Grenfell, though, could have easily been better chosen. And brief appearance from Patricia Hitchcock , Hitch's sister who often shows up in his films, and cameo Hitchock's himself as a pedestrian walking and watching Jane Wyman.

Made after Hitch's first British period when he directed silent films such as ¨The lodger¨ (1926) , ¨The ring¨(1927) , ¨Easy virtue¨ (1927) , ¨The Manxman¨(29) ; being ¨Blackmail¨(29) made as a silent , this was reworked to become a talkie . Following sound movies and early talkies as ¨June and the Paycock¨(30) , ¨Skin Game¨(31) , ¨Rich and strange¨(32) , ¨Number 17¨(32) , ¨The man who knew too much¨(34) , ¨The 39 steps¨ (35) , ¨The secret agent¨(36) , ¨Sabotage¨(36) , ¨The lady vanishes¨(38) , ¨Jamaica Inn¨ (39) until he is hired by David O'Selznick to shoot ¨Rebecca¨(40) in the US . And following: ¨Foreign Correspondent¨(1940), ¨Suspicion¨ (1941), ¨Saboteur¨ (1942), ¨Shadow of a doubt¨ (1943), ¨Lifeboat¨ (1944), ¨Spellbound¨ (1945) , ¨Notorious¨ (1946), ¨Paradine Case¨ (1947) , ¨The rope¨ (1948), ¨Under Capricorn¨ (1949) and this ¨Stage Fright (1950) the Master's last film made in England until ¨Frenzy¨ (1972). Rating ¨Stage fright¨: 7/10. A good film but something unknown and low ranked in Hitchcock's top career.

black comedy that boasts great performances from Jane Wyman, Marlene Dietrich, Michael Wilding, Alistair Sim, Sybil Thorndike, Joyce Grenfell, Kay Walsh & Richard Todd. Great use of silent sequences, close ups, slow motion, black humor, and mood lighting, Hitch's most underrated talkie (Easy Virtue is is most underrated silent film), this murder mystery offers all kinds of plot twists and sly humor even though you know the outcome long before it unspools. It's irrelevent. Fun all the way, including the opening theatre curtain and the closing one (thump). Dietrich is a splendid bitch, and this may be the best performance Wyman ever gave. Also look for Everley Gregg, Patricia Hitchcock, Miles Malleson and Ballard Berkeley. Dietrich's final close up and the coach scene with Wyman and Todd are gems. Sim and Thorndike are hilarious, as is the always wonderful Grenfell as "Lovely Ducks." A Must See.

This is a fine movie by Director Hitchcock in which Jane Wyman shines as the aspiring stage actor trying to get to the truth of a murder. It is usually overlooked or forgotten in evaluations of Hitchcock's overall work. Wyman's friend Richard Todd is on the run from the police. In an effort to out the guilty party, she enlists the help of her father, played by the great Alastair Sim. She worms her way into the household of a far more accomplished actor, Marlene Dietrich, impersonating a servant. She also wins the heart of a police inspector, Michael Wilding. She is at the forefront of this entertaining little film as she changes wardrobes and accents, going back and forth from London to her country home. The cast is strong all-round and, in addition to the above, are the talented Dame Sybil Thorndike, Joyce Grenfell and Kay Walsh, not to mention Patricia Hitchcock, the director's daughter, who often performed very capably in his movies. The movie is a black comedy that moves along at a great pace, with interesting vignettes and the long takes that Hitchcoock used so effectively. The on-location shooting in London gives the movie a reality missing in Hitchcock's earlier films. I liked this movie very much and with Wyman's acting and Hitchcock's direction, it works well.