Agente Secreto

This, in my opinion, is one of the master's best early films, so good, in fact, that it begs for repeat viewing. That is the only way I know to absorb the subtle verbal repartees (observe the fascinating expressions and body language of Madeleine Carroll as she repeatedly defends herself from the blandishments of the affable American played by Robert Young); the hilarious malapropisms and convoluted syntax courtesy of the unpredictably eccentric Peter Lorre (there is good reason to believe this was unfeigned because Mr. Lorre, a Hungarian by birth who had achieved a well-deserved reputation as a chilling screen presence in German cinema before leaving for England following the National Socialist take-over, had not yet mastered the nuances of the English language); the classic understatement by that most aristocratic of all British actors, John Gielgud; and for those of us who never tire gazing at the incomparably beautiful Madeleine (Elsa) Carroll, the camera angles finally do justice to her divinely-wrought features (she also delivers her usual elegantly controlled performance). And, of course, there is all of the excitement and suspense one comes to expect from the great Alfred Hitchcock... Needless to say, I highly recommend this film.

Hitchcock was an extremely visual film-maker as a rule and this film took an entirely different direction. What I remember most are the sounds - or more specifically, the noises. The discordant sound of the organ, for example, stands out. It isn't pretty and why should it be? The organist's dead after all. The noise in the chocolate factory is a continuous din relieved only by a fire alarm! Then, two of the main characters are caught in the bell-tower of a church when the bells begin to ring. Again, the sound isn't pleasant at all but quite annoying. A "musical" scene with yodelers ends up with coins being swirled around plates and is almost overbearing. The dog's howling in its psychic moment is long and unnerving. In all, these sound effects set the audience on edge which I think was part of the original plan. The two central characters are uneasy with their task and we are made to suffer too. This is an unusual film for Hitch and well worth the time.

Curtis Stotlar

A young British army officer is 'killed off' on the Western Front so that he can assume a false identity and go to Switzerland on a secret mission. Brody (or Ashenden, as he is now known) finds the dirty business of espionage distasteful, but is determined to see his mission through to a successful conclusion.

In this early Hitchcock thriller, John Gielgud plays Ashenden as a cheerless snob. His acting is wooden and unappealing, and his embraces with Elsa (Madeleine Carroll)are cold and unconvincing. Peter Lorre is an over-the-top delight as 'the General', the exotic and nasty little assassin. His toilet-paper tantrum is great fun, and he moves the plot along with superb little nuances of gesture (as when he follows the progress of the chocolate-box note).

There are some striking Hitchcockian moments. Is that the Master himself, coming down the ship's gangway ahead of Ashenden? The dead organist is 'playing' a constant discord alone in the Langenkirche, because his lifeless head is slumped on the organ keys. In a classic piece of tension-building, Hitchcock makes the organ sound swell dramatically as Ashenden and the General, unsuspecting, approach the body. Of course the corpse shouldn't be able to increase the organ's volume. That doesn't matter. The effect is great.

The scene shifts from London in an air raid to the Swiss Alps (and as a postscript, to the Bulgarian-Greek border). The main locations are attractively depicted, London's sky a lattice of searchlights, and Switzerland a mountain idyll.

Hitchcock plays clever tricks with the button found in the dead man's hand. It sets our heroes off in pursuit of Caypor, and then it comes back to haunt Elsa's conscience. When the folk singers swirl coins in bowls, Elsa can see only the infernal button. It does not bother the viewer that the coincidences surrounding the button are far-fetched, because the pace and confidence of the story-telling suppresses any incipient scepticism.

The incident on the Langen Alp is in many ways the film's climax, with Hitchcock's trademark suspense-building very much to the fore. As the much-dreaded moment draws near, the cuts to the polite German conversation class raise the viewer's anxiety to an unbearable pitch. Caypor's frantic dog is a masterly touch: the women and the pet know intuitively that the worst has happened. Soon afterwards, Elsa sits silent in her misery between Ashenden and the General, who both chat blithely across her. The camera closes in on her, explaining her feelings of guilt better than any dialogue could.

Throughout his long career, Hitchcock pursued a specific ideal of feminine beauty. Kim Novak and Tippi Hedren were its 1960's manifestation, and here in 1936 Madeleine Carroll is the fresh-faced girl with the fine bone structure and the blonde bob.

The arbitrary deaths in the final reel are silly, and the crash of the model train even sillier, but by this stage the director has eschewed exposition and is hurrying to tie up the plot's loose ends. Even if the viewer thinks hard, he is at a loss to explain what Ashenden was ever doing in Switzerland in the first place: but the trick is not to think too hard.

This espionage film concerns about Ashenden (John Gielgud), a secret agent is sent Switzerland to kill an unknown enemy spy . There he deals with various characters , as a quirky Mexican general (Peter Lorre), a smart gentleman (Robert Young) and a gorgeous woman (Madeleine Carrol) who poses as his wife , causing the classic loving triangle (Gielgud , Carrol , Young). The movie is based on Somerset Maughan's novels titled : Ashenden , taken from ¨The Traitor" and "The Hairless Mexican" spy stories.

This enjoyable picture blends action , a love story , comedy , adventures , thriller , suspense and results to be quite entertaining . Hitchcock said about this film being well developed in Switzerland , it's plenty of typical elements , such as : folkloric dances , Swiss Alps , lagoons and a chocolate factory . Alfred Hitchcock convinced John Gielgud to play the lead by describing the hero as a modern day Hamlet ; Gielgud, however, ended up hating that his character was an enigma and felt Hitchcock made the villain more charming than the hero . Besides , it contains the usual Hitch's touches and the elegant as well as intelligent baddie (repeating in posterior films as James Mason at ¨North by Northwest¨) , the enticing blonde (as later happened with Grace Kelly and Kim Novak) , the filming on the train (a very agreeable vehicle for the director) . It's an uneven movie and Hitch wasn't proud but it had excessive irony as he said in the famous interview with Francois Truffaut . Rating : Good , well worth watching . The motion picture will appeal to Hitchcock fans . Essential and indispensable seeing for Hitch lovers .

One of the more ignored early Hitchcock thrillers, and unjustly so. In 1916 Switzerland, Bookworm John Gielguld, Beautiful Maddeline Carroll and and Pesky, over sexed Peter Lorre are three very unlikely enlisted civilians made to assassinate an unknown foreign agent. One right after another fall superb Hitichcock scenes, high on visuals, in no need of dialog. Such scenes include Gielguld and Lorre discovering a murdered agent in a noisy Swiss church, an assassination seen through a telescope while the victim's dog howls mournfully, a chase through a chocolate factory. What hurts the film is Lorre's shameless overacting, and the too neat ending. It's as if Hitchcock decided "This is beginning to ramble, let's have an explosion here." Don't be put off by co-star Robert Young's comic relief, there's a reason for it. I could picture a 1950's remake, in Vistavision in color with Cary Grant, Grace Kelly and a more restrained Peter Lorre.