Sabotagem

"Sabotage" is one of Alfred Hitchcock's least known features, but it is part of a string of fine films he made during his last few years in England, and is well worth watching for any Hitchcock or thriller fan. The picture is based on a classic novel by the great Polish-English writer Joseph Conrad.

This is a tense, atmospheric thriller, without much humor. It is more like "Vertigo", "I Confess", or "The Birds" than "North By Northwest" or "The 39 Steps". Instead of humor, Hitchcock concentrates this time on carefully constructing the world of the Verlocs, the family at the center of the film. The setting, in a movie theater where the family works and lives, is an important part of the themes and questions explored in the film.

The characters are constantly walking in and out of the theater while movies are in progress, or discussing the movies being shown as they go about the main actions of the (actual) film. The obvious themes of appearance and reality parallel the lives of the Verloc family, and especially Mr. Verloc (Oskar Homolka) whom we know from the beginning to be a terrorist, albeit an amateurish one, and not the mild-mannered family man he appears to be. The settings of Verloc's meeting with his co-conspirators, an aquarium and a bird shop, are also carefully chosen to demonstrate the contrast between the everyday appearance of the terrorists and their actual agendas. Besides the obvious implication that such persons may be those we would not suspect, there is also the strong suggestion that these conspirators do not themselves realize the serious nature of the game they are playing. Certainly Verloc himself quickly realizes that he is in over his head, and he tries desperately to get out of the fearsome responsibilities he has accepted.

Hitchcock buffs will enjoy watching the film repeatedly to catch all of the carefully crafted detail, and to enjoy the trademark Hitchcock touches. There are two particularly riveting sequences. One occurs when Verloc sends his wife's young, unsuspecting brother on a dangerous errand, leading to a sequence of excruciating tension. Hitchcock later said he should have ended the sequence differently, and many viewers might agree, but what happens is in keeping with the themes and plot of the movie, and the suspense sequence is also masterfully done. Also well-known from "Sabotage" is the sequence when Mrs. Verloc (Sylvia Sidney) learns the truth about her husband's activities, and the awful consequences of his latest plot. There is first a touching sequence in the theater, when the Disney movie playing on the screen first provokes Mrs. Verloc to involuntary laughter, then to deepened sadness when it too closely parallels her own experience. Then there is a tense, famous scene at the dinner table, filmed as an absolutely masterful montage by Hitchcock.

These scenes, and the finely crafted atmosphere of "Sabotage", make it worthwhile despite a few small faults, and despite the possibility that many viewers will not be comfortable with some of the plot developments. Watch it at least once if you are a Hitchcock fan, or if you like spy stories or thrillers.

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.

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.

Sabotage clearly isn't Hitchcock's finest hour; but even though this is a 'lesser' Hitchcock film, the director still manages to inject the film with many of his trademarks that would go on to make classics out of films such as Psycho and North by Northwest. Hitchcock makes centrepieces out of several scenes; the best of which include a cross-fade with an aquarium and a London street, the striking opening sequence that sees London go dark; of course, the infamous scene on a bus - and my personal favourite and the crux of the film - the climatic scene that sees saboteur Karl Verloc (played to perfection by Oskar Homolka) try to pass the blame for his actions on to the Scotland Yard inspective who rumbled him. The plot sees cinema owner, the aforementioned Karl Verloc, get himself involved with terrorists. He manages the cinema along with his wife and her brother, and neither of them knows what's going on. The only third party who does know is Sgt. Ted Spencer; the Scotland Yard inspector employed to work a vegetable stall next door as a cover to investigate Mr Verloc.

This film is most famous for the sequence that sees young Desmond Tester carry a bomb onto a packed London bus. Audiences at the time were outraged by the climax to this scene; but I was impressed with it. By having the story run the way it should, Hitchcock showed early on the sort of flair that would ensure Psycho a place on 'best film' lists forty five years after its release. Hitchcock shows a willingness to take a risk, and while it may not have done him much good at the time - it's that sort of mentality that made him one of cinema's greats. As you'd expect, Hitchcock makes best use of the latest cinema techniques available at the time, but also harks back to the silent classics with several shots made to look like storyboards. It's obvious why Joseph Conrad's novel appealed to the great director, as the story itself is packed with suspense and Hitchcock always makes the best of it. The build up to the finale of the bus scene is beautifully serene, yet so daunting at the same time. On the whole; Sabotage represents a good example of early Hitchcock and comes highly recommended to his many fans.

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.