Alice White is the daughter of a shopkeeper in 1920's London. Her boyfriend, Frank Webber is a Scotland Yard detective who seems more interested in police work than in her. Frank takes ... See full summary »
A man in London tries to help a counterespionage agent. But when the agent is killed and the man stands accused, he must go on the run to both save himself and also stop a spy ring which is trying to steal top secret information.
Alice White is the daughter of a shopkeeper in 1920's London. Her boyfriend, Frank Webber is a Scotland Yard detective who seems more interested in police work than in her. Frank takes Alice out one night, but she has secretly arranged to meet another man. Later that night Alice agrees to go back to his flat to see his studio. The man has other ideas and as he tries to rape Alice, she defends herself and kills him with a bread knife. When the body is discovered, Frank is assigned to the case, he quickly determines that Alice is the killer, but so has someone else and blackmail is threatened. Written by
Col Needham <firstname.lastname@example.org>
There is a big mess with the title of the premiere of this movie in Spain. The film was apparently not released in Spain until the 70s, due to its status as one of the first movies with sound system. Then someone wrote a book in which he decided to assign the title of "La muchacha de Londres", which had belonged to another film with Anny Ondra, Eileen of the Trees (1928), to this. Thereafter this error was copied in various publications, and when the film was dubbed and aired on TV in 1984, this error was maintained. Meanwhile in the 70s, the film was first released in theaters in Spain, entitled "Chantaje", title that should really know this movie, and not as "La muchacha de Londres". This chain of errors could be discovered because of the novelization of the argument of "La muchacha de Londres", published at an early date to the premiere of that title in Spain. See more »
A policeman stops the cab with a fleeing Tracy, and the officer looks into the cab standing no more than a foot from the bumper. When the panicky Tracy flees the cab, the bobby is ten feet from the taxi's front and is facing in the opposite direction. See more »
A common motif in Alfred Hitchcock's movies is the guilty woman: "Blackmail", "Psycho" and "The Birds" are all prime examples. In "Blackmail", Alice White (Anny Ondra) goes home with an artist one night and he tries to rape her. She murders him, and from then on everything reminds her of it. The jester painting appears to be looking at her (or she at it?), a billboard looks like a knife, and a woman keeps uttering the word knife. But in the end, everything blows up in Alice's face.
Hitch was certainly showing his chops here. The camera angles, scenery, and other such things all combined to make what we would expect in a Hitchcock movie. I try to imagine being a moviegoer in 1929 watching "Blackmail" for the first time, wondering what Hitchcock's subsequent work would be like.
15 of 21 people found this review helpful.
Was this review helpful to you?