Classic Film Review: The Lady Vanishes (1938)

The Lady Vanishes tells the story of Iris Henderson (Margaret Lockwood) and her fellow bunch of travellers who are stranded overnight in an inn before their train gets started the next day. Before she gets on the train, Iris has an accident and is looked after by Miss Froy (May Whitty). After a nap, Iris wakes and discovers Miss Froy has vanished and none of her fellow passengers claim to remember her. Iris reluctantly enlists the help of Gilbert (Michael Redgrave) and they try to unravel the mystery of Miss Froy's disappearance. The cast includes Basil Radford and Naunton Wayne as the cricket-mad Charters and Caldicott, Paul Lukas as Dr. Hartz and Cecil Parker as Mr Todhunter.

This is the third version of this story I've now seen. I reviewed the 1979 film starring Angela Lansbury last year and, though I watched the 2013 television adaptation, I didn't review it. However, Hitchcock's interpretation of the story is delicious and outstrips the others, no question. It's atmospheric and witty without being overblown. The scenes on the train, particularly, are well-executed despite the confined space.

The cast is practically faultless. Michael Redgrave's first appearances as the irritating Gilbert in the hotel felt like a flamboyant sideshow, but once they settled into their double-act 'Sherlock Holmes and Watson' personalities on the train, the relationship between him and Iris was one of the highlights of the film. In addition, Radford and Wayne are excellent in their supporting roles and everyone down to the nun played by Catherine Lacey fulfil their parts properly.

After seeing three versions, it's very difficult to come to the story fresh but it still kept my attention for the most part, mainly due to Margaret Lockwood as the heroine. It's a completely different role to to her partnership with Redgrave in The Stars Look Down (1940, reviewed here) and, as such, demonstrates the versatility of both. Their chemistry sees the film through with able support from everybody else.

Classic Film Review: Foreign Correspondent (1940)

Foreign Correspondent stars Joel McCrea as John Jones, an American reporter who is sent over to get 'facts' about the impending war in Europe. He is tasked to get an interview with a Dutch diplomat, Van Meer (Albert Bassermann), but is at first unsuccessful and instead becomes friendly with the head of a peace organisation, Stephen Fisher (Herbert Marshall), and his daughter, Carol (Laraine Day). In Amsterdam, trying to obtain another interview with Van Meer, Jones sees the diplomat shot and he gives chase along with Carol and fellow journalist, ffoiliott (George Sanders). What Jones discovers after the chase is that Van Meer is actually alive. But who's behind this conspiracy and can Jones survive long enough to make sense of it?

An early Hitchcock, this is a cracking film. McCrea's quiet yet tough portrayal of Jones makes him a good hero, well coupled with Laraine Day's sassiness as Carol. The last time I saw Day (in Mr Lucky (1943), reviewed here) I enjoyed her as a society girl but not as a love interest. There were some similar problems here though, for the most part, she had more chemistry with McCrea than she had with Cary Grant. Equally, the father-daughter represented between Herbert Marshall and Day is very good. I've seen Marshall in a few things now, most recently Stage Struck (1958, reviewed here) and he's always good value. This role is no exception and I watched all his scenes intently. Also, George Sanders as ffoiliott is outstanding. One revelatory scene sticks in my mind but I can't explain it without ruining a part of the film so I'll just say that he played it perfectly.

Some of the plot twists are predictable to a modern viewer but the last fifteen minutes or so is a spectacular alteration that I certainly didn't see coming. It may seem a little contrived and bizarre but, for me, it rounded off the film nicely and gave the main cast a chance to shine for a final time. Throughout the film is an undercurrent of war propaganda but this only really boils over in the last few minutes as Jones sends a broadcast back home and the American national anthem is played over the credits. Quite clearly a call to arms but it doesn't detract from the excellence of the film as a whole.

Classic Film Review: Suspicion (1941)

Suspicion stars Joan Fontaine as Lina, a woman living with her parents who, rather unkindly, label her a spinster within her hearing. She has encountered Johnnie Aysgarth (Cary Grant) on a train and he pursues her. They swiftly elope and have an excellent honeymoon but when they return to Britain Lina has to confront the fact that Johnnie a chancer, a gambler who is adept at manipulating people. Her worries deepen when she suspects he means to kill his friend Beaky (Nigel Bruce) to procure money but is she correct about his intentions?

This is an excellent film, winning Joan Fontaine a much-deserved Oscar for her performance. The development of Lina from a bright but in-love heroine to a fearful wife who is petrified about the potential ruthlessness of the man she has married. Fontaine's a very subtle actress, sometimes the slight lift of an eyebrow is all that distinguishes an emotion, but she's very effective. A combination of an excellent script and her wonderful control of the role created a heroine who wasn't weak but didn't know exactly what to do with her suspicions either. The consistent use of her glasses throughout not only worked as a metaphor but added to the overall tension. Cary Grant works very well in a darker role than he is known for. The flashes of anger that punctuate the film create a sense of unease, encouraging the viewer to share Lina's beliefs rather than trust in Johnnie. There are some excellent scenes, showing Hitchcock's matchless talent for creating tension, for example, the long-shot of Johnnie delivering an odd-looking drink to his sick wife.

Ultimately, though, as gripping as the rest of the film was, I feel that the ending let it down. It wasn't true to the characters, nor very satisfying for the audience. I understand that the ending of the book was altogether different and this is yet another instance of executives interfering with story-telling. Nevertheless, Suspicion is an excellent film, worth watching for the Oscar-winning performance from Fontaine alone.

Classic Film Review: I Confess (1953)

I Confess stars Montgomery Clift as Father Michael Logan, a priest who hears a confession of murder from employee Otto Keller (O.E. Hasse) and is morally unable to act on it. When the police, headed by Karl Malden as Inspector Larrue, discover that Father Logan has links to the dead man, he quickly becomes a suspect himself. Unable to break Keller's confession, Father Logan faces the ultimate penalty for holding his silence.

With a cast that also includes Brian Aherne as Willy Robertson and Anne Baxter as Father Logan's past love Ruth (now married to Pierre Grandfort (Roger Dann)), I Confess certainly holds a lot of promise. And, for the most part, it lives up to it. The atmospheric introductions to Quebec City at the beginning set up a tense film, a feeling only enhanced by the confession in the opening minutes. From then on, the film is carried by Clift and he is truly excellent as Father Logan. His faith and stoicism could portray him as a silly figure but Clift manages to convey this as a deep sense of belief in something more important than the prospect of being hanged for a crime he didn't commit. The rest of the cast works well, especially O.E. Hasse who has a difficult role to play in convincing the audience he would rather a priest hang for a murder he committed than risk himself.

I had one major niggle. The short flashback sequence which depicts Father Logan's relationship with Ruth before and after the war is superfluous, nothing that couldn't have been explained more briefly in words alone. At that point, music overtook the film in something of an irritating manner, when it was used so well at other moments. However, other than this, the film slots together very well and creates and sustains tension until the very end. I honestly wasn't sure what the final half an hour would bring. An underrated Hitchcock - in fact, one I hadn't even heard of - and one definitely worth dusting off for the central performance alone.

Classic Film Review: Notorious (1946)

Notorious stars Ingrid Bergman as Alicia Huberman, the daughter of a Nazi sympathiser who has been convicted of treason. Alicia is convinced by the government, spearheaded by Devlin (Cary Grant), to infiltrate a group of her father's friends in Rio. While waiting for her assignment, Alicia vows to change her ways and begins a relationship with Devlin. However, her fake relationship with Alexander Sebastian (Claude Rains) quickly becomes serious - from his point of view - and he proposes to her, despite the misgivings of his mother (Leopoldine Konstantin). What follows is a game of cat and mouse that leaves Alicia's life in danger.

This is an excellent film. Cary Grant is at his suave best as Devlin, masking everything wherever possible, and Bergman's bad-girl-turned-good act is very appealing. There is definite chemistry between the pair, only really quantifiable when you compare the Alicia/Devlin relationship with that of Alicia/Sebastian. However, Rains is excellent in the film as a whole, particularly the last few scenes where his panic shines through. The supporting players add to the tension but, really, this film belongs to Grant and Bergman.

There are genuine moments of tension and mystery, and with it being a Hitchcock film you're never quite sure where it will go. Some of the camera angles, particularly at the beginning after Alicia's drunken stupor, add to the effect and the scene of her 'realisation' later on is both perfectly shot and perfectly acted. You have to pay attention to the sharp dialogue at times and I did rewind to catch full meanings on occasion but it all conspires to create a riveting finale.

Notorious richly deserves its reputation as one of Hitchcock's best. I doubt the tension will diminish on second viewing or many viewings after that.

Classic Film Review: To Catch a Thief (1955)

To Catch a Thief stars Cary Grant as ex-cat burglar John Robie. When a new spate of burglaries occur on the Riviera, Robie is instantly suspected and, mindful that the police won't give him a fair hearing, he escapes from them and sets about proving his own innocence with the help of insurance agent H.H Hughson (John Williams). He identifies mother and daughter Jessie (Jessie Royce Landis) and Frances Stevens (Grace Kelly) as potential victims and latches on to them but Frances is wise to his deception and doesn't trust him an inch.

I'm afraid that the editing and dubbing on this film was one of the worst I've seen, especially in such an otherwise excellent film. It really put me off, particularly the use of a non-English speaking actor, Charles Vanel, as important character Bertani. Rather than getting immersed in the story I found myself thinking how bad the dubbing was and that's not to mention the pasting together of shots, most noticeably during the rooftop chase, that pulled me back from the story.

The actual plot is excellent and Cary Grant is at his best as the reformed cat-burglar. He and Grace Kelly work well together as friendly adversaries, though I have to say that my favourite scenes came with Grant interacting with Jessie Royce Landis as Jessie Stevens. The characters interacted so beautifully, particularly in the bedroom scene where she lets him escape. Equally, John Williams as the upright insurance agent is a pleasure to watch.

The scenery in this film is amazing and it's worth watching for that alone. Awe-inspiring and utilised as a good backdrop to the main story, it's stunningly shot. Also, the costume ball section of the film is luscious, filled with vibrant costumes and wonderfully directed by Hitchcock.

All in all, this would have been an incredible film, if not for the atrocious dubbing and occasionally off-putting editing. Nevertheless, it remains an excellent one with Grant at his charming and debonair best.

Classic Film Review: Spellbound (1945)

Spellbound stars Ingrid Bergman as a psychiatrist who goes to great lengths to protect a patient while she works out the truth of his case. The patient (Gregory Peck) originally appears at the institution where Dr Constance Peterson (Bergman) works, masquerading as the new chief, Dr Edwardes. However, Constance soon works out that he's not who he says he is and suspects that he has something to do with the disappearance of Dr Edwardes. This is complicated by the fact that Constance has found herself immediately attracted to the patient. She conceals his location from the police then sets off to find and then cure him, uncovering the truth in the process.

This is an atmospheric Hitchcock film with a supporting cast that includes Michael Chekov as Dr Alexander Brulov and Leo G. Carroll as outgoing chief Dr Murchison. The concept of psychoanalysis is explained in sometimes clunky terms during the film but it makes a good basis for the plot. To be fully immersed in the story you may have to believe wholeheartedly in psychoanalysis but, on the other hand, it's a good film even if you're ambivalent. The short dream sequence devised by Salvador Dali is too short for my liking but certainly adds something to the film.

The beauty of this one, though, lies in the leading actors. Bergman is phenomenal, from her first moments as a calm and in control doctor through to the finale where she's fighting to save the man she loves. There are too many excellent individual scenes to mention but the climax between her and the villain takes some beating. Equally, Gregory Peck manages a role that could have become far too melodramatic very well. During his episodes, yes, the patient is unpredictable and weak but this contrasts nicely with his obvious affection towards Constance. Also excellent is Michael Chekov as the talkative Dr Brulov who lightens the tension a little with his non-stop chatter though there is more to him than that.

Of course, there are aspects of this film which were badly handled. The completely artificial ski scene was one, which could have been better handled with a director like Hitchcock. In addition, I felt that the superfluous characters who were introduced at the beginning (another doctor and a female patient) wasted a little bit of time. While they were there to set up Constance as a character, I don't think they entirely worked. However, these are small gripes. Overall, I found Spellbound to be a captivating film and one which would've cemented my love for Ingrid Bergman - if it wasn't already cemented, that is.

Classic Film Review: Rebecca (1940)

Based on the book by Daphne Du Maurier, Rebecca tells the story of the second Mrs de Winter (Joan Fontaine) who marries Maxim de Winter (Laurence Olivier) after a whirlwind romance in Monte Carlo and returns to England to his family home of Manderley. Once there, however, she finds the house, her husband and the servants - particularly housekeeper Mrs Danvers (Judith Anderson) - all preoccupied with his first wife, Rebecca. Mrs de Winter at first feels inferior but the truth has the potential to be much more damaging.

You can certainly tell this is a Hitchcock film. Even as an early one, it displays some of the techniques he employs to such effect in later films. For instance, the scene when Mrs de Winter ventures into Rebecca's chamber is atmospheric to the extreme, with camera angles and lighting being deployed to their full potential. Equally, the character of Mrs Danvers is represented as menacing at all times thanks to Hitchcock's direction. Mixed with excellent performances from the three main actors, along with those from George Sanders, Florence Bates, Edward Fielding and Leonard Carey, this is a truly remarkable film.

Joan Fontaine is outstanding as the anxious bride. In a few scenes she seemed to almost quiver out from the screen, especially in her pivotal scene in the bedroom with Mrs Danvers. Laurence Olivier is equally engaging in his pivotal scenes towards the end of the film. In fact, whether it's a small scene or a large one, Olivier commands attention. In his first few scenes with Fontaine I actually found it difficult to concentrate on her, so overwhelming was Olivier's presence.

This is truly a gripping film. Some elements were altered in the transition from book to film but they work cinematically and that's the most important thing. Judith Anderson's performance works completely and I came away this film deeply unsettled by the character of Mrs Danvers. For me, she was the one who lived on, despite the chilling finale.

Classic Film Review: Lifeboat (1944)

With a story by John Steinbeck and direction by Alfred Hitchcock, Lifeboat certainly boasted the cream of creative talent. The film tells the story of a group of survivors stranded in a lifeboat after their ship is torpedoed by the Germans. Both written and set during WWII it holds some typically standard views but is no less involving for that. The main tension within the film comes from the German sailor they pull on board. They need his help but is he trying to get in their way or get them out of the Atlantic alive?

The beauty of this film lies with the direction. Only Hitchcock could have made every scene, every angle of a lifeboat feel fresh and new. It sounds like a boring film with only the one setting but you quickly forget you're watching a single boat due to the ingenious angles and use of all available space. It never becomes boring and, because of the confined space, tension is rife.

There are a few notable characters. Connie Porter (Tallulah Bankhead) is the first character we encounter, floating in the lifeboat on her own making a film of the man swimming towards her. When John Kovac (John Hodiak) boards he's unimpressed by her grandeur and, throughout the film, she loses her camera, typewriter, mink coat and beloved diamond bracelet. Also pulled aboard are Gus Smith (William Bendix), Alice MacKenzie (Mary Anderson), Charles 'Ritt' Rittenhouse (Henry Hull), Mrs Higgins (Heather Angel) and her baby, Stanley 'Sparks' Garrett (Hume Cronyn) and George 'Joe' Spencer' (Canada Lee), along with their German associate, Willy (Walter Slezak). All have their own little arcs and some of them are more likeable than others.

Some of the early tension comes via Mrs Higgins. It's clear when she's pulled aboard that her baby isn't at all well and the scenes which follow that are traumatic. Equally as harrowing is the realisation that Gus has developed gangrene in his injured leg and that the only way to ensure he at least gets a chance at life is amputation. Gus is by far one of the most likeable characters, a man completely in love but worried that he'll lose her if he's at all injured. All of the characters contribute to the plot but, for me, it was Gus who held it together and what happens to him is horrific.

I won't reveal the various ups and downs (quite literally) of the lifeboat but I will say that this is a film which surprised me. Tallulah Bankhead was a better leading lady than I could have imagined and, while her chemistry with John Hodiak wasn't sizzling, it wasn't completely out of the realm of possibility. My favourite performance in this though was probably Hume Cronyn as Sparks. Along with Gus, Sparks provides some of the heart for the film and he's a likeable man you really want to survive.