Os Trinta e Nove Degraus

This 1978 version of "The 39 Steps" is an excellent film, well worth one's time. The film follows the John Buchan novel closely, except for its climax which, according to Halliwell, is taken from Will Hay's "My Learned Friend"; thus, there is little similarity in plot and characters between this film and the Hitchcock version. There are no handcuffed characters racing about (Thank God!) nor villains with truncated digits.

This film is well cast and performed throughout, with special mention of Robert Powell, John Mills, and David Warner. Made in color, it features beautiful scenery, especially the train trip to Scotland and Hannay's flight over the moors. It has fine period detail and costumes, the equal of anything in Merchant-Ivory films. And it has a lush, romantic score that swept me right along into the film.

The film does reference Hitchcock in a number of ways, most obviously in the plane search for Hannay, which recalls the plane attacking Cary Grant in "North by Northwest." And the climax that takes place on the face of Big Ben is exactly the sort of thing Hitchcock might have done, what with his fondness for using famous landmarks in his films.

The suspenseful climax is as good as anything Hitchcock ever did. But throughout, the film has good suspense. Hannay's escape from the train on the bridge here is better than the Hitchcock scene. And the terrorists' activities as shown here are very modern in that they are ruthless killers.

The people who were involved in making this film have nothing to apologize for. It's a fine film, and it's too bad that it has been overshadowed by the Hitchcock version. Don't miss this one.

R Houghton's review claims that "...with this version, we finally get the story as it was written."

This is a very long way from true. To note only three departures, the thirty-nine steps of the original text do not refer to the steps leading up to Beg Ben, but to a staircase leading from a house in Bradgate down to the sea; in the original text, Scudder is knifed in Hannay's flat; and the scene of Hannay clinging to the hands of the clock appears nowhere in Buchan's novel.

But all that said, this production is a fine piece of work in its own right, having great pace, style and atmosphere, and with some first-class acting from Robert Powell.

It's hardly fair to compare this to the Hitchcock version (which was made when Buchan was not yet a well-known author). I think the Hitchcock film is the better as a film, although there are a few stodgy moments (with the crofter, for instance), but lots of lovely visual ideas to compensate (the Bridge scene, the missing digit, and the ending). But Hitchcock's is not a filming of Buchan's novel. It's something quite different. The first remake (with Kenneth More) was a remake of the Hitchcock film, not the book. With this version, we were told it would be faithful to the original, but, yes, the ending is stolen from an old Will Hay film (which was very much before its time, with its black humour). So this is not really a remake of the Hitchcock film, but neither is it faithful to Buchan (which I must re-read). But it is enjoyable, the period feel is good, and I personally like Ed Welch's concerto score.

I was never really crazy about the Hitchcock version of this story. Hitch too often "fiddled" with an original story, and although so often made a great movie, it was seldom true to the story as it was first written. The later remake with Kenneth Moore, was a little more glossy, but flat. But with this version, we finally get the story as it was written. Superior photography on location, really help to make this a real winner. Evenly paced, with fine acting performances by the entire cast, the whole film just flows. Excellent production values, recreate the period flawlessly. If I had a criticism, it would be of the rather fanciful climax, but it was still fun. This movie is for enjoying over and over again.

The best-known film version of John Buchan's famous novel was made by Alfred Hitchcock in 1935 but, although an excellent film in his typically playful style, it actually had little to do with the book. Ralph Thomas's 1959 remake was a dull affair. Don Sharp does a much better job.

The film reverts to the book's Edwardian setting and opens with a striking scene beside the fog-shrouded Thames, which reminds one of Sharp's work for Hammer Films. Robert Powell is an agile and likeable hero, supported by a strong cast and the climax, cleverly borrowed from the Will Hay classic "My Learned Friend", has Hannay attempting (literally) to turn back time.

It was reported that, when this film premiered at a West London cinema, the audience burst into spontaneous applause at the end!