A film actress is murdered by her estranged husband who is jealous of all her young boyfriends. The next day, writer Robert Tisdall (who happens to be one such boyfriend) discovers her body on the beach. He runs to call the police, however, two witnesses think that he is the escaping murderer. Robert is arrested, but owing to a mix up at the courthouse, he escapes and goes on the run with a police constable's daughter Erica, determined to prove his innocence. Written by
Col Needham <email@example.com>
About 50 minutes into the film, when Erica Burgoyne and Robert Tisdall have taken refuge at night in a small town, by parking her car next to a siding just before where the railroad underpasses a bridge, the entire scene has been staged and shot as an obvious miniature, as revealed by three mistakes: the somewhat jerky motion and unnatural lighting of an automobile (indicating that it was pulled) as it moves across the bridge, above the railroad; the express train speeding under the bridge drags a length of cord behind it, as it disappears from view; the camera tracking in closer to the parked automobile hidden in the shelter of freight trains on sidings, reveals that the figures of Erica and Robert are actually modeled and painted figurines, motionless until the shot suddenly changes to a medium close-up shot of the two actors. See more »
Don't shout, I tell you! Don't shout!
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The screen credits list (seventh in order) a character "Guy", but no character is ever named "Guy" in the movie. The actor matched up in the credits with this non-existent character is George Curzon; Curzon in fact plays the husband of Christine Clay and has a substantial scene with her in the opening scene of the movie. See more »
This is a good Hitchcock film, but on the lighter side. The acting may be disputed (certainly many dispute about it!), but in my opinion it is a very solid, entertaining, and well-acted picture. It does have much of Hitchcock about it (not surprisingly) and is well worth watching. All of the classic Hitchcock elements are there, and they fit together wonderfully: the musical score, the camera work, the twists and turns in the plot, the thrilling scenes, the build-up, the director himself ... and not to forget the story! This is built up very carefully, and contains many, many interesting side-glances and elements. But one needs to watch the film very carefully, or more than once, in order to find these. It is indeed a sort of '39 Steps', and a precursor to several later Hitchcock films, but in its own way it occupies a place rather different than any other Hitchcock film. I am referring to a certain 'bucolic' atmosphere, which is perhaps only equalled by 'The Trouble With Harry'. The parallels to this film have perhaps not yet been adequately explored.
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