Les 39 marches

While I personally prefer Hitchcock's darker, more troubling movies, especially 'Vertigo' and 'Psycho', as far as his straightforward thrillers go 'The 39 Steps' is still one of his most entertaining. The man on the run because of false accusations or "knowing too much" motif may or may not have been invented here, but it certainly influenced dozens of subsequent thrillers, all the way up until contemporary movies like 'Enemy Of The State' and 'Minority Report'. Robert Donat makes a great hero, and Madeleine Carroll is charming and funny as his reluctant partner. The chemistry and repartee between the two is something that has been copied countless times since. Some people seem to regard 'The 39 Steps' as a practice run for Hitch's later 'North By Northwest', but I prefer the earlier movie. It may not be complex and deep, but it's great fun, and full of old fashioned movie magic. A classic thriller that is still wonderfully entertaining, and should prove to be enjoyable to almost everyone who watches it. Recommended.

Nearly every era in Hitchcock's directing career has incredible strengths. When we view a later film like "North by Northwest" we are tempted to say that "The 39 Steps" is simply a training film for the bigger budget, star studded film that came later. This is not true. This movie stands on its own. With wonderful actors like Robert Donat and Madeline Carrol, we are led on an intense ride, culminating in a crowded theater. There are amazing shots of the characters weaving their way through crowds, close ups used strictly for the purpose of moving the plot. With Hitchcock there is no excess. He is a poet with a camera. As the tension mounts and Donat's character becomes swept away in its arms, we are taken with it. His wisecracking character is out of words and must act, just as Cary Grant did in the aforementioned film. There is something lurking and we have to find out who it is and why does he need to know what he knows? I've seen this many times and will see it again.

For sheer entertainment, it would be hard to top "The 39 Steps". While Hitchcock made other movies with more psychological depth and more fascinating characters, there is as much fast-paced suspense here as you will find in any of his later films, along with a good dose of humor and a wide variety of creative settings.

This is one of several movies on Hitchcock's theme of the unjustly accused man. In a nicely-crafted sequence at the beginning, Richard Hannay (Robert Donat), a Canadian visiting London, is caught up in a spy plot and suspected in a murder, and he spends the rest of the film trying to evade both the police and the actual killers. The settings include a London music hall, a train, the Scottish moors, a political meeting, and several others that add to the exciting story. For much of the action, Hannay is entangled with a skeptical blonde played by Madeleine Carroll, and the two have good chemistry in a running verbal battle. There are also several entertaining minor characters that add wit and interest, especially the music hall performer "Mr. Memory".

It all moves quickly and holds together well, resulting in great entertainment that will be enjoyed by anyone who likes classic thrillers.

Richard Hannay is enjoying `crazy month' at his local music hall when shots ring out. He is approached by a young woman who asks can she shelter at his house. He takes her in and she tells him she must get to Scotland to try and contact a man about the 39 Steps in order to prevent vital information being smuggled out of the country. When she is murdered in his flat, he finds himself framed and goes on the run – his only chance to clear his name being to continue her trail and expose the real killers and the spy ring itself.

Having recently seen both the 1950's (poor) and 1970's (enjoyable) remakes, I decided to revisit the original film version of The 39 Steps. The Hitchcock film steps away from the book somewhat and is more a fast moving story of one little jape after another. It has quite a short running time and is surprisingly light on it's feet as it quickly moves from one scene to another. It is hard for me to judge how tense or exciting it is, having seen it so many times, but it always keeps me engaged, whether it be the witty political speech or the climax in the music hall.

The direction feels old and worn now but is actually very sharp and well paced. The film stock is worn and patchy and one shot in particular appears to be running at the wrong speed but it does have a very good sense of place. The highlands (and internals) feel like the highlands and the music hall atmosphere is well captured and treated with affection. The mix of humour and drama is well done, with alternate scenes using one or the other while some scenes mix the two very well.

Donat is partly to thank for this as his performance keeps things light without ever going so far as to wink at the audience or make us think that he is playing it for laughs. His is a charming lead and he plays it well. Carroll is well used as the traditional blonde cast by Hitchcock, she is a little dappy but she is a match for Donat in early scenes. The chief villain is a dry sort and would have made a good Bond villain with his mix of menace and manners.

Overall this is a classic film and for good reason. It is dramatic, funny and enjoyably light footed and fun to watch. It has stood the test of time and can be enjoyed by a mix of tastes due to these qualities. A good old fashioned mystery adventure story with plenty of witty touches from Hitchcock.

...with Robert Donat as a Canadian ex-pat living in London who gets accused of murder. He goes on the run, avoiding the authorities in hopes of clearing his name, with the trail leading to the Scottish countryside. He eventually ends up involving a reluctant Madeleine Carroll. With Lucie Mannheim, Godfrey Tearle, Helen Haye, Wylie Watson, John Laurie, and Peggy Ashcroft.

Highlights for me: the Scottish Highlands, Madeleine Carroll removing her stockings while handcuffed to Donat, and Peggy Ashcroft's brief turn as the unhappy wife of a country farmer. Donat's easy charm and affable demeanor foretell the similar performances by Stewart and Grant in Hitchcock's later thrillers. There are some glaring plot-holes (why don't the villains deal with Donat when they off the woman in his apartment at the film's start?), but they can be ignored thanks to the pace of the proceedings.

The Criterion DVD bonus features include commentary by Hitchcock expert Marian Keane; a "visual essay" by Hitchcock expert (how many are there?) Leonard Leff; Hitchcock: The Early Years (2000), a short British documentary; excerpts from a 1966 British TV interview; more audio-only excerpts of Truffaut's Hitchcock interviews; a booklet/essay from critic David Cairns; and the complete Lux Radio Theatre adaptation, with Ida Lupino and Robert Montgomery. Truly the best way to see it, and thus why I bring it up.