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Gielgud is cold and elegant as Brodie/Ashenden but lacks the heart which makes spies intriguing to an audience. Madeleine Carroll is warm and funny, Robert Young is charming (and would have made a great leading man here), and Peter Lorre is hilarious (perhaps unintentionally), stealing scene after scene. Lorre plays his part with a Spanish accent, an earring, curly dark hair, and rolling eyes, and it's hard, if not impossible, to believe that he's an assassin. The outdoor scenes are obviously painted, especially in a mountain climbing scene, and the action is melodramatic. The best and most natural scenes are the scenes in which Young flirts with Carroll, while Gielgud stews or looks confused. These scenes provide contrast with those in which Lorre, in real life a German, looks like a chubby assassin trying to sound "Spanish."
Hitchcock balances his serious scenes with scenes which offer some dark comic relief--Brodie's "wake" contrasting with a scene in which the butler casually carts off his empty casket, Gielgud and Lorre discovering a church organist's body and then having the church bells ring while they are hiding beside them in the bell tower, and Madeleine Carroll visiting politely with the wife of a man being assassinated while the wife's psychic dog howls loudly at the door. In major scenes the major characters wear clothing with sharp black and white contrasts, while lesser characters wear grays, and a constant prop throughout the film is the cigarette--even inside a sauna. Not very suspenseful, the film nevertheless has a surprise ending, and modern viewers will enjoy seeing this cast at work in this early Hitchcock film. Mary Whipple
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