39 Steps - at a dead run!

Why do most people today automatically associate movies of the Thirties and Forties with boredom in black-and-white? Although most films were indeed on black-and-white prints, one needs only to watch a showing of Alexander Korda's Four Feathers or our American Classic Robin Hood with Errol Flynn, both of which were in genuinely glorious Technicolor, to discredit the black-and-white myth.

As for boredom, one needs only to watch the Hitchcock masterpiece The 39 Steps to end that particular myth. This film enjoyed the benefit of near-perfect casting and a plot based on a classic best selling novel by John Buchan. As if that wasn't enough, it also had the direction (and cameo appearance) of good old Alfred - Hitchcock, that is.

The stars were Robert Donat and Madeleine Carroll (European spelling) as Richard Hannay and "Pamela." Donat, along with Paul Muni, was one of the truly great dramatic actors of that period. Donat later was nominated for an Oscar for his role in The Citadel (1939) and won the statuette for his timeless role of Mr. Chips in Goodbye Mr. Chips in 1940.

Madeleine Carroll, although an outstanding actress, was vastly under-cast and under-appreciated during her career. She was a genuinely beautiful blonde, and projected a witty British personality (no, that isn't an oxymoron -- some of the best wits of the arts are/were Brits) that worked perfectly with Donat's matter-of-fact chauvinism. For those who might be interested in seeing more of Ms Carroll, I suggest her watershed year, 1936.

In that year she appeared in: Secret Agent; The General Died At Dawn; The Case Against Mrs. Ames; and Lloyds of London. Other noteworthy films are The Prisoner of Zenda (she was the beautiful Princess Flavia) in 1937, Northwest Mounted Police in 1940, and her last appearance in The Fan in 1949. I recommend all of these films without reservation, by the way, and she is gorgeous in Technicolor in Northwest Mounted Police.

Anyhow, back to Hitchcock! Hannay is a Canadian visiting Britain on business. He visits a British Music Hall (which includes a bar and a rowdy working class audience) with an unusual starring act. The act, Mr. Memory, is a man who "...memorizes five new facts each and every day for the edification and enjoyment of his audiences." The scene is delightful with a variety of questions being fired at Mr. Memory who answers all successfully. One man asks, "Do you know how old Mae West is?" to which Mr. Memory - without a hitch - replies, "Yes, I do, but I never reveal a woman's age."

Suddenly, a minor fight erupts at the bar just as a little man in the audience tries to have Mr. Memory tell him "How does a chicken get the Pipp?" The police join the fray and a pistol shot rings out and, as the little man continues trying to ask his chicken question, Donat joins the exodus from the music hall and is joined spontaneously by a dark-haired and attractive woman who asks him to take her with him.

It is at this point, for those of you who are familiar with Alfred's cameo appearances, that he makes a very brief showing. Watch closely because he is much younger than you're used to seeing, and isn't wearing his bowler hat.

The woman is Annabella Smith (a likely name, Smith) who is extremely nervous about anyone seeing her. She says her life is in danger, and sure enough, she is promptly killed under circumstances that leave Hannay the logical suspect. From this point on it becomes an unremitting pursuit similar to that of the TV series, The Fugitive. We all know he's innocent, but the police they keep a-coming.

In the course of his flight he meets Ms Carroll - Pamela - on the train and gets off on the wrong foot by forcing her into a passionate kiss to mislead the pursuing policemen. The most entertaining aspect of their reluctant relationship is the repartee between the two. The best possible description for their dialogue would be "ahead of its time."

In fact, the entire film was somewhat ahead of its time, and provided filmic precedents for future action/mystery films, including some more by Alfred himself. The film had a generous dose of humor as leavening for the tautness of the action, and provided early growth for future British super-stars. The farmer's wife was played by Peggy Ashcroft, now Dame Peggy Ashcroft in recognition of her theatrical accomplishments over the years.

Mr. Memory, the key character in the film, was played by Wylie Watson who apparently never succeeded to much bigger roles in his career. The film was shot on location in Scotland and, even in black and white, the scenery is stunning as well as contributing strongly to the effectiveness of the plot. You, the reader of this review, will have to actually see this movie to appreciate how difficult it is to communicate the uncommon power of the film.

As with most films of this era, there are several cinematic goofs which, though amusing, don't really spoil the overall atmosphere of the movie. In one scene Annabelle has Hannay turn a mirror to the wall. As he does so, if you watch closely you will be able to see a glimpse of the film crew. Again, movie lights are briefly visible when the police search the train, and the shadow of the microphone is visible on the wood panelling in the hotel room. There are two more that I will let you look for yourself.

All in all, I can only recommend this film to your attention with the assurance that you won't be disappointed. It is, in every aspect, one of Alfred's best and one you will enjoy and remember. After all, it was good enough for two other directors to do remakes in the 50's and 70's, so it couldn't be too bad.... Check it out, why don't you?