Saboteur (1942)

User Rating:

7.4/10   

Director:

Alfred Hitchcock

Writers:

Peter Viertel (original screenplay) &
Joan Harrison (original screenplay) ...

Release Date:

24 April 1942 (USA)

Genre:

Mystery | Thriller | War

Tagline:

3000 miles of terror!

Plot:

Aircraft factory worker Barry Kane goes on the run across the United States when he is wrongly accused of starting a fire that killed his best friend.

Plot Keywords:

Factory | Sabotage | Fire | On The Run | Police

Awards:

1 nomination

US TV Schedule:

Sat. Nov. 14

8:00 PM

TCM

Cast

Priscilla Lane	...	Patricia 'Pat' Martin
Robert Cummings	...	Barry Kane
Otto Kruger	...	Charles Tobin
Alan Baxter	...	Freeman
Clem Bevans	...	Neilson
Norman Lloyd	...	Frank Fry
Alma Kruger	...	Mrs. Sutton
Vaughan Glaser	...	Phillip Martin (as Vaughan Glazer)
Dorothy Peterson	...	Mrs. Mason
Ian Wolfe	...	Robert
Frances Carson	...	Society Woman
Murray Alper	...	Truck Driver
Kathryn Adams	...	Young Mother
Pedro de Cordoba	...	Bones - Circus Troupe
Billy Curtis	...	Midget - Circus Troupe

Runtime:

108 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Mirrophonic Recording)

Certification:

France:U | USA:Approved (certificate no. 8268) | Brazil:12 | Argentina:13 | Australia:PG | Chile:14 | Finland:S | Germany:16 | Ireland:PG | Peru:14 | Sweden:15 | UK:PG | USA:PG

Filming Locations:

Alabama Hills, Lone Pine, California, USA

Company:

Frank Lloyd Productions

Trivia:

Director Cameo: [Alfred Hitchcock]A man visiting the newsstand in front of the drug store where Barry Kane is taken upon arriving in New York City.

Goofs:

Errors in geography: Fry orders the taxi to go downtown from midtown Manhattan, but on the way they pass by the sunken ship on their right which is supposed to be in the Brooklyn Navy Yard. Brooklyn is to the east of Manhattan so it's impossible to see the ship on their right.

Quotes:

Mr. Freeman: The most important thing is to make sure of everyone around us.
Charles Tobin: Mr. Kane?
Mr. Freeman: I'm just not sure. I want to know that he's all right.
Charles Tobin: All right? What an understatement. He's much more than that! He's noble and fine and pure... So he pays the penalty that the noble must pay in this world: he's misjudged by everyone.

Movie Connections:

Referenced in "The Simpsons: Three Men and a Comic Book (#2.21)" (1991)

Soundtrack:

Tonight We Love

On the Road

Alfred Hitchcock's Saboteur is not one of his best-regarded films; made between two vastly more popular and critically praised pictures, Suspicion and Shadow Of a Doubt, it's generally regarded as a lesser effort. I agree that the later film is groundbreaking, drawing Hitchcock wholly into the American mainstream for the first time, but Saboteur is in its way at least as lively as Suspicion; its chief flaw being its less than charismatic star players, Bob Cummings and Priscilla Lane.

In Saboteur we find Hitchcock feeling his way around America, literally, as its lead character travels from California to New York in search of an arsonist for whose crime he was accused. Cummings is very youthful here, and quite engaging. His boyishness (but not immaturity) perfectly suits the character he is portraying, and seems appropriate, as the director, though middle-aged, was in the process of reinventing himself, and an older, more established star might have thrown things off. Priscilla Lane's spunky heroine, which not a typical type for the director, was very much a common type in American films at the time; and she and Cummings provide an openness and a youth the director needed both in his life and work at this time. I cannot imagine older, more solid types,--Cooper and Stanwyck for instance--doing any better, as they would have, between them, carried, well, too much baggage.

As is the norm in Hitchcock's films, nothing is as it appears. Where Saboteur differs from his better known films is that the audience is let in on the game early. Though Cummings is an accused arsonist, we know that he is innocent. The villains become apparent fairly soon; and the movie hinges more on its plot than its ironies. What pleasures there are are incidental, and here the Master does not disappoint. There is an interesting, Tod Browningish interlude with some circus freaks, who help Cummings elude capture. In another scene, reminiscent of James Whale's Bride of Frankenstein, Cummings spends some time in the cottage of a blind man, who, as it turns out, is Lane's uncle. Was the director perhaps studying key American films of the previous decade? Whatever the case, these and other offbeat and discursive aspects of the movie give it a playfulness and variety, which, when one adds the factor of quite youthful leads, makes the picture seem like the work of a younger man, still learning his craft.

The film's later scenes, in New York, are more suspenseful and typical of the director, as the picture gradually becomes more Hitchockian as it moves along. In the end I find it a satisfying work; and as neither Cummings nor Lane has a dark side as an actor, neither does the movie have one. It is deliberately lightweight, and I suspect semi-experimental; an attempt by Hitchcock to see if he could pull off, in an American setting, the sort of story he had done so well in England. He succeeded admirably. The next logical step: Shadow Of a Doubt, a film in which the main character travels east to west, and with a wholly different set of values and plans.