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Sabotaggio

Titolo originale: Sabotage
  • 1936
  • Approved
  • 1h 16min
VALUTAZIONE IMDb
7,0/10
19.970
LA TUA VALUTAZIONE
Sabotaggio (1936)
A Scotland Yard undercover detective is on the trail of a saboteur who is part of a plot to set off a bomb in London. But when the detective's cover is blown, the plot begins to unravel.
Riproduci trailer1: 19
1 video
38 foto
CrimineSpiaThrillerThriller psicologico

Un detective sotto copertura di Scotland Yard è sulle tracce di un sabotatore che fa parte di un complotto per far esplodere una bomba a Londra. Ma quando scoprono la sua vera identità la tr... Leggi tuttoUn detective sotto copertura di Scotland Yard è sulle tracce di un sabotatore che fa parte di un complotto per far esplodere una bomba a Londra. Ma quando scoprono la sua vera identità la trama inizia a disfarsi.Un detective sotto copertura di Scotland Yard è sulle tracce di un sabotatore che fa parte di un complotto per far esplodere una bomba a Londra. Ma quando scoprono la sua vera identità la trama inizia a disfarsi.

  • Regia
    • Alfred Hitchcock
  • Sceneggiatura
    • Joseph Conrad
    • Charles Bennett
    • Ian Hay
  • Star
    • Sylvia Sidney
    • Oscar Homolka
    • Desmond Tester
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,0/10
    19.970
    LA TUA VALUTAZIONE
    • Regia
      • Alfred Hitchcock
    • Sceneggiatura
      • Joseph Conrad
      • Charles Bennett
      • Ian Hay
    • Star
      • Sylvia Sidney
      • Oscar Homolka
      • Desmond Tester
    • 127Recensioni degli utenti
    • 66Recensioni della critica
    • 85Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
  • Video1

    Trailer
    Trailer 1:19
    Trailer

    Foto38

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    + 32
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    Interpreti principali26

    Modifica
    Sylvia Sidney
    Sylvia Sidney
    • Mrs. Verloc
    • (as Sylvia Sydney)
    Oscar Homolka
    Oscar Homolka
    • Karl Verloc--Her Husband
    Desmond Tester
    Desmond Tester
    • Stevie
    John Loder
    John Loder
    • Detective Sgt. Ted Spencer
    Joyce Barbour
    Joyce Barbour
    • Renee
    Matthew Boulton
    Matthew Boulton
    • Superintendent Talbot
    S.J. Warmington
    S.J. Warmington
    • Hollingshead
    William Dewhurst
    William Dewhurst
    • The Professor
    Pamela Bevan
    • Miss Chatham's Daughter
    • (non citato nei titoli originali)
    Peter Bull
    Peter Bull
    • Michaelis - Conspirator
    • (non citato nei titoli originali)
    Albert Chevalier
    • Cinema Commissioner
    • (non citato nei titoli originali)
    Clare Greet
    Clare Greet
    • Mrs. Jones - Cook
    • (non citato nei titoli originali)
    Charles Hawtrey
    Charles Hawtrey
    • Studious Youth at the Aquarium
    • (non citato nei titoli originali)
    Alfred Hitchcock
    Alfred Hitchcock
    • Man Walking Past the Cinema as the Light Is Renewed
    • (non citato nei titoli originali)
    Martita Hunt
    Martita Hunt
    • Miss Chatman - The Professor's Daughter
    • (non citato nei titoli originali)
    Mike Johnson
    • Member of Cinema Crowd
    • (non citato nei titoli originali)
    J. Hubert Leslie
    J. Hubert Leslie
    • Conspirator
    • (non citato nei titoli originali)
    Aubrey Mather
    Aubrey Mather
    • W. Brown & Sons Greengrocer
    • (non citato nei titoli originali)
    • Regia
      • Alfred Hitchcock
    • Sceneggiatura
      • Joseph Conrad
      • Charles Bennett
      • Ian Hay
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti127

    7,019.9K
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    Recensioni in evidenza

    8Don-102

    The best of Hitch's early British films...

    Most buffs and fans of Alfred Hitchcock point to 39 STEPS or LADY VANISHES as his best work before he hit Hollywood in 1940. SABOTAGE is really the first time we see a pure thriller, specifically a spy thriller, which became so commonplace throughout the master's career. The main character is an undercover agent, looking to break up a ring of saboteurs bent on destroying London. Hitch places the head villain within, what else, a cinema, something that adds to the already rich atmosphere. The film was also shot on location, an oddity for Hitch.

    Check out the camera movements and use of shadows in regard to the villain (played by a creepy looking Oscar Homolka). They reveal a lot to us the viewer and lead us to hope for his wife to figure it all out. An ominous image of London falling is depicted from the point of view of Oscar. This is pretty basic stuff, but, considering how old the film is, it still packs a punch. The scene on the bus, where a young boy carries a film tin which may or may not carry a bomb is extremely suspenseful and well-done. We even see a British crowd in the movie theater watching a Disney flick (which is well noted in the opening credits).

    1934's THE MAN WHO KNEW TOO MUCH was an effective early thriller, better than the 1956 remake, however, this is the film to start with if studying Hitchcock's career. You may find yourself preferring some of his British films, like MAN WHO KNEW, to his work in Hollywood. SABOTAGE provides the goods for the first time.
    7Steffi_P

    "If gangsters looked like gangsters…"

    In the mid-to-late 1930s Alfred Hitchcock held a unique position for a director. Since the successes of The Man Who Knew Too Much and The 39 Steps, his destiny as a suspense filmmaker had been revealed not only to himself but also to his bosses at Gaumont. He was now only assigned material suitable to his area of expertise, and given a considerable amount of freedom to play around with the form. At the tail end of his British period, at a time when standard cinematic technique and narrative convention were well established, Hitchcock was effectively a researcher, of the kind that hadn't really been seen since the days of Griffith.

    Sabotage is adapted from the Joseph Conrad novel Secret Agent, and it's worth taking a peek at a synopsis of the book to see the differences in the movie version, two of which are very significant. Firstly the novel is a kind of anti-heroic piece told largely from the point-of-view of the villainous Verloc. You couldn't have that in cinema in the 30s, so Verloc's opponents are beefed up into morally sound protagonists. However, it is still revealed from the outset that Verloc is the culprit, and we the audience are always kept aware of his doings even when the heroes are not. Dispensing with the Agatha Christie form of "whodunit" is essential to the Hitchcockian mode of suspense building. Revealing the identity and intentions of a killer keeps the audience constantly wondering when and how he will strike again.

    The other important difference between the novel and film, is that Conrad states quite explicitly that Verloc and co. are anarchists, delving quite deeply into their ideology, as well as implying that they are Russians. Hitchcock's picture however makes no mention of the politics or nationality of the villains. They are simply generic foreign terrorists, existing to make the plot work. Imagine how much weaker this picture would be if we were asked to think about Verloc's motives. He has thick eyebrows, a sinister accent and he puts bombs on buses. What more do you need?

    On a purely formalist level, Hitchcock's method is becoming increasingly streamlined. This is perhaps the earliest of his pictures which really feels like it was planned shot by shot before a single camera rolled. Of particular note is Hitch's staging of drama through reaction shots rather than expository dialogue. For example, Oskar Homolka's reaction to Stevie talking about gangsters, or pair of close-ups after John Loder is pulled through the air vent that tells us one of the gang members has recognised him. There are a few pointless technical touches, such as Homolka's vision of London in the fish tank glass, or Stevie's face popping up among the crowd of boys, but these are not as distracting as they could be in Hitch's earliest pictures.

    Hitchcock rarely gave his actors any coaching, and relied upon a good professional cast to deliver the goods. In Sylvia Sydney and Oskar Homolka he has two of the best leads he had worked with so far, and their restrained naturalistic performances make their climactic scene together incredibly effective. The supporting cast are not bad either, although as usual with Hitchcock the comedy characters are the real standouts. Little-known stage veteran William Dewhurst, who plays the "professor", is a joy to watch, and it almost looks as if his scenes are about to turn into Monty Python sketches.

    Much as I detest the phrase "experimental film", this was truly an experimental era for Hitchcock, or at least one in which his pictures were going through a process of natural selection. He realised afterwards he had made a huge mistake in one aspect of the main suspense sequence on the bus – I won't reveal it here as it's a major spoiler – and would ensure he never repeated the error. In spite of what was for him an embarrassing flaw, Sabotage is a very enjoyable and effective thriller, not among the greatest of his British period, but certainly worth watching.
    10krorie

    Sabotage holds up much better than some of Hitchcock's later films

    What an opening. The power goes off all over London as the camera gives the viewer a sweeping panorama of the situation, light, shadow, blackness, panning throughout the city with emphasis on historical sites. Then one word utterances from several different persons in charge of keeping the power up and running. This beginning grabs the audience's attention better than any other film this side of "The Letter" and Hitchcock's own "Rebecca." But unlike "The Letter" where the opening is the high point of the entire film, "Sabotage" keeps getting better and better. The opening is truly just the beginning of a cinema masterpiece. Hitchcock uses old film techniques such as cross cutting in novel ways. One of the best scenes takes place in a zoo aquarium where water creatures are compared with the human creature. Listen to the dialog between the two saboteurs as the camera zooms in on the sea turtles. Later the bomber thinks of the fish swimming in the tank and then sees motor cars filled with passengers speeding along the streets. An explosion. Suddenly the fish in the tank again flash through the bomber's head. To savor this splendid moment of cinematic brilliance, the viewer may need to zip back and watch and listen as the scene is repeated.

    What a wonderful acting job Sylvia Sidney does. Hitchcock used all his influence and bargaining power to have Sidney play the part. Unfortunately Hitchcock and Sidney did not jell. Their personalities clashed. So the gifted actress refused to have anything else to do with the masterful director. Such a great loss for each.

    The way Hitchcock handles the delicate situation involving the cute boy, Mrs. Verloc's (Sylvia Sidney)little brother, riding the bus with a time bomb in a package under one arm while petting a fluffy puppy with his free hand is necessary for what happens at the end of the film. For once, however, Hitchcock misread his movie patrons who were outraged. Never again would he make a similar mistake.

    An interesting feature of this Hitchcock outing is a cinema owned by the bomber (Oskar Homolka) and his wife (Sidney) where clandestine meetings among the saboteurs occur. Several features are shown in the background from time to time during the film but one stands out, "Who Killed Cock Robin," a Disney short from 1935 featuring a parody of Mae West among others. Hitchcock skillfully blends the clip from "Cock Robin" into his story of "Sabotage." Mrs. Verloc deeply depressed and confused following her brother's death hears the laughter coming from the audience. She sits down and joins in with the gaiety. When the arrow is loosed and strikes poor Cock Robin, the laughter on her face changes to an expression of agony and terror. Reality replaces fantasy and make believe. Now she fully realizes what a monster her husband truly is, not the noble sensitive caring man of her dreams. One is reminded how a later director/writer Preston Sturges would use a similar technique with a Mickey Mouse cartoon in his classic "Sullivan's Travels."

    There is also a clear message by Hitchcock on sabotage, today terrorism; those so-called martyrs for a cause are in reality misguided devils who end up killing the innocent and helpless instead of the ones their feeble minds believe to be the deceivers and exploiters of the human race.
    9aimless-46

    A Great Sylvia Sidney Vehicle (before "Beetlejuice")

    Like most Hitchcock films, "Sabotage" is a great thriller directed with a fluid, self-assured style. But given its thriller genre what makes "Sabotage" unique is that moments into the movie we know the identity of the saboteur, we know who is the undercover detective, and we know that the police have all but solved the case. So Hitchcock's suspense must come from somewhere else and in the meantime he must entertain us with character development. And that task falls to his heroine. Hitchcock had an uncanny ability to cast actresses who were a perfect fit (at that exact point of their career) to play a particular heroine. Fortunately he again makes the right choice and we are treated to a fine performance from Sylvia Sidney (imagine an expressive Sasha Cohen without ice skates).

    The film is essentially a Sylvia Sidney vehicle as she plays a woman who slowly realizes that her husband is a monster. She is a young American woman who married an older European (nationality unknown) man who apparently showed kindness to her and her young brother Stevie (played by Desmond Tester) when they were down on their luck. They moved to London to run the Bijou, a struggling movie house.

    Among the notable scenes is the meeting between Sidney's husband (played by Oskar Homolka) and a spy contact at the London aquarium; to the backdrop of a huge turtle swimming in an illuminated tank. The tank cross-dissolves into Piccadilly Circus as it is demolished in his imagination.

    Another is late in the film when Sidney sits in the theater in numb shock, watching a Disney cartoon ( ( "Who Killed Cock Robin ?" )). There is not a word of dialogue but her eyes and expressions subtly convey an emotional cavalcade of stunned realization, immense sadness, and barely suppressed hysteria that will stay in your memory forever. It is a rare example of the visual power of film and an illustration of what acting for the camera is all about.

    And perhaps most amazing is the long and unbearably suspenseful journey of young brother Stevie across London, unaware that he's carrying a ticking time bomb.
    7cricketbat

    The package scene makes it worth watching

    The infamous package scene alone makes Sabotage worth watching. This film is full of the suspenseful intrigue and surprising twists that have become synonymous with the name Alfred Hitchcock. This movie is not without its flaws, but it's a solid story and a thrilling ride.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Based on Joseph Conrad's novel "The Secret Agent", this sports a different title, as Sir Alfred Hitchcock's previous movie was called Amore e mistero (1936), which was based on stories by W. Somerset Maugham.
    • Blooper
      The London Underground and tram lines had their own power supplies, both separate from the public system. A single power station failure could not affect all three.
    • Citazioni

      Ted Spencer: [trying to calm crowd down demanding their money back after a power outage] It's an act of God, I tell you!

      Member of Cinema Crowd: And what do you call an act of God?

      Ted Spencer: I call your face one, and you won't get your money back on that.

    • Curiosità sui crediti
      Opening credits are shown with a background of a dictionary page open to the definition of "Sabotage".
    • Connessioni
      Featured in Ritrovarsi (1994)
    • Colonne sonore
      Love's Old Sweet Song (Just a Song At Twilight)
      (1884) (uncredited)

      Music by J.L. Molloy

      Lyrics by G. Clifton Bingham

      Sung a cappella by a man lighting candles

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    Dettagli

    Modifica
    • Data di uscita
      • 8 febbraio 1937 (Regno Unito)
    • Paese di origine
      • Regno Unito
    • Lingua
      • Inglese
    • Celebre anche come
      • Una donna sola
    • Luoghi delle riprese
      • Gainsborough Studios, Shepherd's Bush, Londra, Inghilterra, Regno Unito(Studio)
    • Azienda produttrice
      • Gaumont British Picture Corporation
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Lordo in tutto il mondo
      • 721 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 16 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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