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Number 17 (1932)
"Number Seventeen" (original title)

 -  Crime | Mystery | Thriller  -  18 July 1932 (UK)
5.9
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Ratings: 5.9/10 from 3,026 users  
Reviews: 55 user | 20 critic

A gang of thieves gather at a safe house following a robbery, but a detective is on their trail.

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Title: Number 17 (1932)

Number 17 (1932) on IMDb 5.9/10

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Cast

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

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:

18 July 1932 (UK)  »

Also Known As:

No 17  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.20 : 1
See  »
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Did You Know?

Trivia

This was Alfred Hitchcock's last film as director for British International Pictures, though he made one more film for them as producer: Lord Camber's Ladies (1932), directed by Benn W. Levy. See more »

Goofs

Hitchcock uses models quite well for the bus and train sequence, given the age of the film. However as the model train approaches the ferry it is seen to have about 8 carriages. When Doyle is being pursued across the carriages, it can be seen that there are many more than eight carriages - at least five behind the middle carriage (where Ben and Nora are) and at least five in front of this middle carriage. 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

Remade as ITV Play of the Week: No. 17 (1958) 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

 
another early, unnecessary detour for the Master
3 February 2005 | by (United States) – See all my reviews

NUMBER SEVENTEEN is one of the very few films Alfred Hitchcock made that has aged poorly. It's bizarre to find a movie he made that doesn't improve on a second viewing; even JAMAICA INN and THE SKIN GAME get better the more you look at them. Here's an unfortunate exception. While it doesn't lack merit as a rollicking little caper, the story is too confusing for the film to be enjoyed, and surprisingly enough the direction is clumsy and the whole thing ends up rather incoherent.

There may be a reason for this. Hitchcock made this in a hurry to get to a project he was eager to work on, RICH AND STRANGE, one of his most offbeat and personal films (actually released before this one). As a result, this very short and very stagy little comedy/thriller feels like the work of someone who didn't really care. While this is something that rarely happens in his catalog as director, you can sense the same thing to a lesser extent in STAGE FRIGHT and THE SKIN GAME, yet the technical competence of the former and the fine source material and performances of the latter make those more fun and interesting to see than this.

The real crime here is witnessing the failure of one of Hitch's only stabs at an old-dark-house mystery; it's a severe disappointment that he didn't explore the potential of the story to a greater degree. NUMBER SEVENTEEN is locked into its time and doesn't have anything close to the resonance of BLACKMAIL. To a fan of the director, it's essential but a bit off-putting.

One good point is the closing chase sequence, which takes up a major chunk of the movie's second half (the total running time is only an hour). Despite the obvious use of miniatures, it's amusing to see the director play with buildup and action in an otherwise dismal effort.


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