Quiz

In his interview with François Truffaut in 1964, and in many other interviews, Sir Alfred Hitchcock referred to this movie as "the lowest ebb of my career."

Sir Alfred Hitchcock said about this movie "naturally every cut in the film was worked out on script before shooting begins. But more than that, the musical cuts were worked out, too." In certain sequences, the images were deliberately cut to conform to the rhythm of the music. Frequently, Hitchcock adds, music can supplement cutting, more especially in quiet scenes where its comment on mood and tone can sometimes be more subtle than the interplay of images, which is so important in moments of violence: "Film music and cutting have a great deal in common. The purpose of both is to create tempo and mood of the scene, and, just as the ideal cutting is the kind you don't notice as cutting, so with music."

When this movie was released in 1933, Sir Alfred Hitchcock was interviewed by Stephen Watts for Cinema Quarterly (1933, Vol. II, No. 2). Hitchcock mentioned about the suspense and the use of music in this movie, "There is a dialogue scene between a young man and a woman. It is a quiet, tender scene. But the woman's husband is on his way. The obvious way to get suspense is to cut every now and then to glimpses of the husband travelling towards the house. In the silent days, when the villain was coming, you always had the orchestra playing quickening music. You "felt" the menace. Well, you can still have that and keep the sense of the talk-scene going as well. And the result is that you don't need to insist pictorially on the husband's approach. I think I used about six feet of film out of the three hundred feet used in the sequence to flash to the husband. The feeling of approaching climax can be suggested by the music. It is in the psychological use of music, which, you will observe, they knew something about before talkies, that the great possibilities lie."

The first Sir Alfred Hitchcock movie to use "stuttering" in dialogue. This idea of stuttering was later used in Hitchcock movies like Nodo alla gola (1948), L'altro uomo (1951), and Psyco (1960).

Although Sir Alfred Hitchcock often described this movie as the lowest ebb of his career, he claimed that Tabarin di lusso (1928) was his least favorite of all the films that he had made.