Jonathan Cooper is wanted by the police who suspect him of killing his lover's husband. His besotted friend Eve Gill offers to hide him and Jonathan explains to her that his real lover, actress Charlotte Inwood is the real murderer. Eve decides to investigate for herself, but when she meets the detective in charge of the case, she truly falls in love.Written by
Col Needham <firstname.lastname@example.org>
A French VHS released in the nineties contained two versions of the film: one dubbed, the other subtitled. Beside this difference numerous edits were made in the dubbed version. Many scenes were shortened such as the talk between Eve and her father outside the boathouse in the night, Eve's attempt to disguise herself as a maid... However, and more importantly, this version contained two longer scenes not present in any copy released on VHS or DVD so far.
The first one is an extension of the bar discussion scene between the maid and the other patrons, right before Eve asks Wilfred Smith "Don't you think she's talking too much?" The dialog is dubbed in French.
The second scene is a slightly but magnificent longer version of Marlene Dietrich singing "The Laziest Gal in Town". The complete song runs 4 minutes instead of 3.37 in the edited version. The cut occurs after the first "it's not 'cause I couldn't" in the lyrics.
STAGE FRIGHT (1950), whicch is usually dismissed as an Alfred Hitchcock failure, really has some fascinating things in it. As a whole, the film feels empty. The viewer knows they saw masterful construction work, but with lousy glue.
Richard Todd plays a Londoner wrongly accused of murdering his mistresses' husband. He is befriended by a young actress (Jane Wyman), her eccentric dad (Alister Sim, perfect as a daffy version of a Brit gentleman)
This film has arresting female characters (Marlene Dietrich is great as Todd's gal-pal. Patricia Hitchcock makes a top-grade debut in her father's films, and Kay Walsh is unforgettable as a blackmailer.)
The film begins in mid chase, has a terrific long take during a flashback, several other chases across and around stages and outdoor performances. The finale in a cluttered, noir-ish prop room is good stuff. What truly mars the film is the uninteresting sub-plot with detective Michael Wilding.
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