Entre a Lei e o Coração

This is a lovely, lovely film set on the Isle of Man, a place unfamiliar to many. The camera swoops over the cliffs and sea to highlight the stark beauty of the landscape which is the star of the film. Don't expect the usual Hitchcock touches that were present in his later films...he developed them more fully in his very early talkies "Murder" and "Blackmail" and somewhat in his silent "The Lodger". The use of inter-titles is limited and works well. The cast here is good, Carl Brisson (who would later become the father-in-law of Rosalind Russell) and Anny Ondra who Hitchcock would use again in "Blackmail"; however, some of the plot lines are not fully developed and one rather important element is left unsaid in the story's ending. Be that as it may, if you are a fan of the Master, it's required viewing. It will fill in the history of his work and although it is atypical of his later films, it is worth the watch.

First time of watching this simple silent, and of course I like it as I wouldn't comment on (subjective of course) crap! It's a plain tale of a love triangle set on the Isle of Man, the woman (Ondra) falls in love with the best friend (Keen) of her absent husband-to-be (Brisson). Thanks to having to get round the censorship rules, you have to pay attention about 48 minutes in (out of 82 minutes running time on my tape) although it should be fairly obvious what was going to happen. As the immortal Bard, Charlie Chaplin said in The 1942 Gold Rush "Buzz Buzz Buzz". As Ondra stays dressed I can only surmise that this was the angle from which Hitch got his kicks.

And Anny Ondra is wondrous to behold, she was a real beauty who still looks modern all the way from '29 and worth the price of any DVD alone. She held my attention anyway, and whatever the outcome of the story would have been I would have been on her side!

But what she saw in either of her lovers is beyond me I'm afraid - Brisson couldn't stop laughing and Keen looked as if he'd never smiled in his life. It's not quite up to the level of Flesh and the Devil, but there's so few British silent films extant that it's well worth a look, or even just to view Hitchcock's early efforts.

Hitchcock's final silent film is another drama focusing on a love triangle – his primary plot basis in these early days before he became the master of suspense.

In many ways The Manxman can be seen as something of a loose remake of The Ring (1928), following a similar story of a love triangle between a man, his wife and his best friend, with similar characters and circumstances and the same lead man in Carl Brisson. However while that earlier boxing drama eventually pulled its punch (excuse the pun), The Manxman is a far harsher affair, with a ruthless disregard for its characters' fates that prefigures film noir.

As was Hitchcock's style from his earliest works, his aim here as a director is to place the audience inside the scenario, no matter how uncomfortable it makes them. The film is almost entirely composed of point-of-view shots, and an unusually large number of them in which an actor looks straight into the camera. Time and time again Carl Brisson's big innocent face stares out at us, as if implicating us in the guilt of the other two leads.

This also happens to be one of a small number of Hitchcock pictures which is very beautiful to look at. There are plenty of exquisite location shots and great use of natural lighting, in ironic counterpoint to the darkness of the story.

While not quite the best of them, The Manxman is perhaps the most confident of Hitchcock's silent pictures. Whereas the majority of his silents relied too much upon rather obvious expressionist camera techniques, The Manxman is shot much more straightforwardly, and yet it still has a smooth, flowing style and isn't cluttered up with too many title cards. For me though, Hitchcock didn't really become an interesting director until he started making talkies.

Though it is a lesser Hitchcock, "The Manxman" has several strengths, and indeed it could have been a fine film if not for some major flaws in the story. The settings and photography are excellent, the acting is generally good, and the story's setup is believable and had possibilities.

The best part of the movie is the setting on the Isle of Man, which is done very nicely, with well-chosen settings and terrific photography. The setting is woven into the story very well, and many of the scenes are given backgrounds and props which re-emphasize the distinctive setting and/or give useful symbolism to the events in the plot. Fishing boats, an old water mill, and the island's rocky beauty are all used effectively.

The characters are presented well, and you quickly get to know them and sympathize with them. The first part of the story moves quickly, and efficiently establishes the love-triangle theme. The three leads (Carl Brisson, Anny Ondra, and Malcolm Keen) are all quite good in this part.

Unfortunately, the rest of the story is rather a disappointment, moving very slowly at times, and often painful to watch because of some notable flaws in the ways the characters act. All this really detracts from the continuing good direction and camera work. There is a very nicely conceived jump cut at one point that could have been very powerful if the story were better, and the climactic sequence does hold some real irony and suspense, but it just doesn't have the impact that it could have had. Hitchcock does his best with things, but it's too bad that he did not have a freer hand with the material, which was apparently based on a novel that for whatever reason had acquired a certain popularity at the time.

Ultimately, this movie is just average. But there are still some strengths here, and it is probably worth a look for silent film fans who especially appreciate good black-and-white photography, or for devoted Hitchcock fans who will appreciate the touches he added to an otherwise unsatisfying story.

Anny Ondra, eh? What a woman.

The plot of Hitchcock's last silent movie reads like a storyline from the unaccountably popular Brit soap 'EastEnders.' Even though she doesn't really love him, Kate (the truly delectable Anny Ondra), a flirtatious pub landlord's daughter, rashly promises to wait for her young beau Pete (a hulking Carl Brisson) to return from Africa where he plans to go to make his fortune after the surly pub landlord refuses him her hand in marriage. She loves Philip (Malcolm Keen), an up-and-coming lawyer who just happens to be Pete's best mate and who also reciprocates her feelings of ardour. Lord only knows what she sees in him though, as he comes across as something of a stuffed shirt and looks like Piers Fletcher-Dervish. Anyway, word comes from Africa that Pete has died, leaving Kate and Philip free to declare their love for one another – something neither had felt able to do when poor old Pete was alive.

Of course, this being an opera of the soapiest kind, it turns out the jungle drums got it wrong and Pete isn't dead after all! He returns to the Isle of Man a wealthier man, instantly making himself more acceptable to Kate's father. Now this is where you'd think Kate and Philip would come clean – after all, they thought Pete was dead – but instead they keep quiet about their affair and Kate marries Pete out of a sense of obligation.

There's plenty more plot to follow, but suffice it to say that a lot of hand-wringing and soul-searching follows. And either Kate and Phil were still at it after Pete returned from Africa, or Pete's too thick to do the maths and release that he was still ocean-bound when his loving wife conceived.

The plot summary above actually makes the film sound more interesting than it really is. Everyone over-acts terribly, and all the characters are too shallowly drawn to be of much interest. The plot grows increasingly silly as coincidence is piled upon contrivance, and the downbeat ending proves an inadequate pay-off.