The Thirty Nine Steps

Although it is not 100% faithful to the book, it is the most faithful in spirit of the four versions I've seen. Of the four though on its own, I do prefer Hitchcock's 1935 film, for how well made and directed it is and how suspenseful it is. This version is better however than the well done if slightly flat 1959 film and the awful 2008 TV adaptation. The pace sags in the middle perhaps, but this is a very well done film both as an adaptation and on its own merits. The locations look beautiful and are very atmospherically photographed, while the score adds much to the often thrilling and suspenseful tone. The script is intelligent and does feel as though it's flowing naturally, and the story is securely paced and the suspense is in equal measure with Hitchcock's like with Hannay's escape from the train. If there is one scene though that I prefer over the Hitchcock film, it's the climax, which I found thrilling and not as rushed. Robert Powell has both the bearing and charm for Richard Hannay, Karen Dotrice is a likable female interest and David Warner is an ever charismatic presence. The villains are suitably ruthless also. All in all, a very well done film, well made, engaging and mostly faithful. 8/10 Bethany Cox

This is about as far removed from the Hitchcock version as you could imagine. For starters, instead of a beautiful female spy you get John Mills, (though his demise with a knife in his back in the arms of the hero in a public place might be taken as a tribute to "North by Northwest"; it's even got Hannay menaced by a plane on a lonely moor). It is, in fact, a reasonably faithful rendition of the book where Hitchcock's was a fanciful re-imagining, (and a good deal more fun), but it's no disgrace. Indeed as a Boy's Own Adventure it's thoroughly enjoyable; a Ripping Yarn in fact, with a splendid cast of British character actors, good use of locations and a spiffing climax involving Big Ben.

Robert Powell's Hannay is considerably more po-faced than Robert Donat's, (he's too stiff to be a proper action hero), and comes over as a bit of a boor. Still, you wish him well and are happy to perch close to the edge of your seat as he dodges both the police and the dastardly Huns as he attempts to clear his name. Love interest, for what it's worth, is provided by Karen Dotrice, and whose character is an amalgam of Peggy Ashcroft's and Madeline Carrol's, but this is a film in which soppy girls needn't bother us; the heroes and villains keep it ticking along nicely.

This is an exciting, well acted version of the Thirty Nine Steps. David Warner is appropriately evil as the head of the Nazi's moles, Robert Powell is a convincing reluctant hero who has been thrust into mystery & danger, Sir John Mills is great as the voice of warning and reason against the pending threat of war, and Karen Dotrice is very sweet as the romantic interest now that she is all grown up. Compared to the earlier Hitchcock version (which we also like) this story is much more believable and less campy.

We love it and watch it every few months. Our only disappointment is that our VHS is getting worn and we can't find a replacement in either VHS or DVD.

Hitchcock would agree that Don Sharp did him one better in the 1978 remake of "The 39 Steps." Sharp's camera technique may not be as spare and precise as Hitchcock's but the overall blend of script, acting, character and plot development make this a truly delightful and fun film. Robert Powell sparkled in his role as a Richard Hannay from "down under." Great film meant to be viewed again and again. I do believe Hitchcock might have considered a request to pop out of a doorway or jump on a bus lending his profile in cameo to this film as he did in so many of his own.

It's hardly fair to compare this to the Hitchcock version (which was made when Buchan was not yet a well-known author). I think the Hitchcock film is the better as a film, although there are a few stodgy moments (with the crofter, for instance), but lots of lovely visual ideas to compensate (the Bridge scene, the missing digit, and the ending). But Hitchcock's is not a filming of Buchan's novel. It's something quite different. The first remake (with Kenneth More) was a remake of the Hitchcock film, not the book. With this version, we were told it would be faithful to the original, but, yes, the ending is stolen from an old Will Hay film (which was very much before its time, with its black humour). So this is not really a remake of the Hitchcock film, but neither is it faithful to Buchan (which I must re-read). But it is enjoyable, the period feel is good, and I personally like Ed Welch's concerto score.