Sabotage (1936)

A Scotland Yard undercover detective is on the trail of a saboteur who is part of a plot to set off a bomb in London. But when the detective's cover is blown, the plot begins to unravel.

Director:

Alfred Hitchcock

Writers:

Joseph Conrad (novel), Charles Bennett (screen play)

Stars:

Sylvia Sidney, Oskar Homolka, Desmond Tester

Cast

Complete credited cast:
Sylvia Sidney	...	Mrs. Verloc (as Sylvia Sydney)
Oskar Homolka	...	Karl Anton Verloc (as Oscar Homolka)
Desmond Tester	...	Stevie
John Loder	...	Ted Spencer
Joyce Barbour	...	Renee
Matthew Boulton	...	Superintendent Talbot
S.J. Warmington	...	Hollingshead
William Dewhurst	...	The Professor

Storyline

Mr. Verloc is part of a gang of foreign saboteurs operating out of London. He manages a small cinema with his wife and her teenage brother as a cover, but they know nothing of his secret. Scotland Yard assign an undercover detective to work at the shop next to the cinema in order to observe the gang.

---

Plot Keywords:

birdcage | imitating a bird | songbird | stabbed in the stomach | undercover police officer | 

---

Taglines:

...A Bomb Plot ...A Killing ...Justice

---

Genres:

Crime | Thriller

---

Certificate:

Not Rated

Details

Country:

UK

Language:

English

Release Date:

11 January 1937 (USA)

Also Known As:

I Married a Murderer

Filming Locations:

Gainsborough Studios, Shepherd's Bush, London, England, UK

Company Credits

Production Co:

Gaumont British Picture Corporation

Technical Specs

Runtime:

76 min

Sound Mix:

Mono (Full Range Recording System)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Oskar Homolka reprised his role as Adolf Verloc in Startime: The Secret Agent (1959), though he was named Karl Verloc in that adaptation, as in the novel.

---

Goofs

The nitrate film that figures as an important plot point is shown as a single 1000 foot can of film. However, the boy is transporting a feature length movie and as such would consist of six or more such cans of film since film runs at 11 minutes per thousand foot reel. The films would also be carried in a metal case and the total weight would be quite a burden for a little boy to carry.

---

Quotes

[first lines]
Man in power plant: Sand.
2nd Man in power plant: Sabotage.
3rd Man in power plant: Wrecking.
4th Man in power plant: Deliberate.
2nd Man in power plant: What's at the back of it?
3rd Man in power plant: Who did it?

---

Crazy Credits

Opening credits are shown with a background of a dictionary page open to the definition of "Sabotage".

---

Connections

Referenced in Dexter: The British Invasion (2007)

---

Soundtracks

Love's Old Sweet Song (Just a Song At Twilight)
(1884) (uncredited)
Music by J.L. Molloy
Lyrics by G. Clifton Bingham
Sung a cappella by a man lighting candles

User Reviews

Modern Cinema Began At 1:46

A boy, an old lady, and a puppy on a bus. What could possibly be a sweeter film scene? Well, that is unless you're Alfred Hitchcock and the film is "Sabotage," in which case you get a trifecta of quite a different sort.

Playing with the rules was Hitchcock's forte, but never again until "Psycho" would he do so with the cold brilliance on display here. Unlike "Psycho," which hasn't dated a month since its 1960 release, "Sabotage" doesn't for a moment feel like it was made any later than 1936, in part because of its fuzzy sound quality (maybe just the versions I've seen) and in part because it's a very static film.

That's not to say "Sabotage" isn't good. In fact, it's brilliant. Adapted from the Joseph Conrad novel "The Secret Agent" but markedly better both in terms of its linear treatment of the thin central story and its sharper, more measured ending, "Sabotage" introduces us to Mr. Verloc (Oskar Homolka), the owner of a London cinema who sidelines as a secret agent for a mysterious foreign power, "the people you and I will never catch" as one policeman tells another. After causing a power outage that produces laughter rather than the desired fear, Verloc is assigned a more deadly job, to cause an explosion in Piccadilly Circus, "the center of the world," as Verloc's controller calls it.

It's impossible to watch the film now without thinking of 9/11 or the London subway bombings, a world of murderous, anarchic terrorism Conrad's novel and Hitchcock's film anticipated without quite comprehending. The film seems to stumble on offering a coherent "why," perhaps because there isn't one, then or now. But echoing a central point in Conrad's novel, "Sabotage" shows the terrorists' greatest fear is not retribution but indifference. "London must not laugh" is the order given to Verloc.

As played by Homolka with sleepy nuance, Verloc isn't quite a villain, just a weak, lazy man of no moral fiber who objects at the thought of murder but decides to go through with it in order to be paid. Sgt. Spencer of Scotland Yard is hot on Verloc's trail, but he's not exactly a hero, a bit of a bumbler rather who fancies Verloc's wife. Mrs. Verloc, played by screen vet Sylvia Sidney (she was the case worker helping the Maitlands in the afterlife in "Beetle Juice" 52 years later) is the closest we have to a rooting interest, though her concern seems less with the husband or the policeman who woos her than her little brother, Stevie (Desmond Tester).

Hitchcock's direction offers a little of the comic relief more prominent in his other films, and some arresting visuals for their time, especially that of a fish tank which morphs into a London street under attack. There's a very involving scene where a devastated Mrs. Verloc is reduced to tearful laughter by a Disney cartoon. (Verloc's owning a cinema may be a comment on the deceptively transformative power of cinema, or a wink in the direction of his sideline activity in the novel, selling Edwardian porn.) Mostly "Sabotage" is a film that grabs you by the throat and never lets go, making its 80-minute running time feel like forever going by in an instant.

It all comes down to the scene on the bus. Hitchcock apparently believed it was the biggest mistake in his career. It may have killed enthusiasm for "Sabotage," but it made clear to filmgoers that all bets were off as far as this young director was concerned. From then on, cliffhangers would be invested with a certain added dread that would make their resolutions seem less pat, and the movie thriller would be that much more thrilling. It took guts to make a film like that.