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Number 17 (1932)

Number Seventeen (original title)
A gang of thieves gather at a safe house following a robbery, but a detective is on their trail.

Director:

Writers:

(as J. Jefferson Farjeon), (play) (as J. Jefferson Farjeon) | 3 more credits »
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Cast

Complete credited cast:
Leon M. Lion ...
Ben
...
Nora Brant - the Girl
John Stuart ...
Barton - the Detective
...
Brant - Nora's Escort
...
Henry Doyle
Ann Casson ...
Rose Ackroyd
Henry Caine ...
Mr. Ackroyd
...
Sheldrake
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Storyline

Detective Gilbert is searching for a necklace robbed by a gang of thieves. In the beginning, the gang is in a house in London, then they are running away from police. It will not be easy for the detective to recover the jewel. Written by Claudio Sandrini <pulp99@geocities.com>

Plot Summary | Add Synopsis


Certificate:

TV-PG | See all certifications »
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Details

Country:

Language:

Release Date:

7 November 1932 (UK)  »

Also Known As:

No 17  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.20 : 1
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Did You Know?

Trivia

Alfred Hitchcock did not want to make this film. He had wanted to direct a prestige production of John Van Druten's play "London Wall," but to punish Hitchcock for the financial failure of his previous film East of Shanghai (1931), British International Pictures head John Maxwell took him off "London Wall" and put him on this film instead. Hitchcock himself has referred to the film as "a terrible picture . . . very cheap melodrama". See more »

Goofs

Barton and Nora's hands are tied to the railing behind them, but after they fall backwards through it they're hanging with their hands in front of them. See more »

Quotes

[first lines]
Ben: Oh! Oh, Gawd! Oh, Gawd! Oh, Gawd! Oh!
Fordyce/Barton: How do you feel? Now, where's that candle? Here, have some of this.
See more »

Connections

Version of Huset nr 17 (1949) See more »

Soundtracks

I Don't Need a Television
(uncredited)
Music by Harry Shalson
Lyrics by John Malvern
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Number Seventeen
26 January 2005 | by (Canada) – See all my reviews

For starters, I think the proper context for evaluating this film would be: 1932 thrillers. And judged against its competition, this film ain't so bad. Hitchcock overdoes the mood, and there were times when I was tired of the frightening shadows cast upon walls by unexplained light sources. Characters holding candles, for instance, would throw full-body shadows upon walls, and the movements of those shadows would be exploited for mood effect.

But the movie isn't as terrible as its cruelest critics suggest. The early thirties in England blurred distinctions between stage and screen, and the stage qualities of the film are quite strong. You have to imagine that you're watching a play, perhaps in the West End, with a cast of aging Victorian and Edwardian actors, in order to get the full context of this film.

If you are only capable of watching modern Hollywood movies, or if you can only evaluate film in the context of E.T. and MTV, then by all means stay away from this film. On the other hand, if you like early films, black and white film, silent movies, and moody thrillers from the 20s and 30s, then this film is quite good. There are unexplained details, yes, but watch the film nonetheless. It won't damage you, as other viewers have suggested. The hour of your life will not be wasted: you will have gained an understanding of the important link between film and theatre, between screen-acting and stage-acting, and you will have a more full understanding of Hitchcock's background.

Besides, I dare you not to be drawn into the plot near the middle of the film. Halfway through, you realize: Not a single one of the characters has been contextualized properly, and any one of them could be lying about their identities and reason for being in the empty house. Some have faulted this as a "problem" in storytelling -- but I would suggest that it's what creates the suspense. You are interested in the story because of the unexplained. Stop complaining, eh?


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