The 39 Steps

Trust and betrayal have been a recurrent theme in several of Alfred Hitchcock's works. The 39 Steps, made in 1935, has the all the classic elements of the master filmmaker that set the standard for later Hitchcock films. The 39 Steps has the classic Hitchcockian theme of an average, innocent man caught up in extraordinary events which are quite beyond his control. The sexually frustrating institution of marriage is another major motif present in the film. The strained and loveless relationship between the crofter and his wife, the placid relationship of the innkeeper and his wife, the (physical) bond between Hannay and Pamela can be examined in terms of degrees of trust between the couples. In fact, the short 'acquaintance' between Hannay and Smith and Hannay and the crofter's wife are also built completely upon trust. It is these couples, and the chemistry between them (or the lack thereof) that drive the entire film.

Over a span of four days, the smart and unflappable protagonist, Richard Hannay (Robert Donat) is involved in a circular journey to prove his innocence and expose the hive of intrigue. He is involved in chases and romantic interludes that take him from London to the Scottish Highlands and back again and he assumes numerous identities on the way - a milkman, an auto mechanic, a honeymooner, a political speaker among others.

The opening of the film, the first three shorts do not show him above his neck. With his back to the camera, he is followed down the aisle to his seat. He is then assumed to be lost in the crowd. This gives the audience the feeling that he could be anybody. Later when he takes in the identities of a milkman, a mechanic, a politician one realizes that he is Hitchcock's archetypal 'everyman' who unwittingly finds himself in incredible dilemmas.

In one of the brilliantly managed sequences on the train, Richard Hannay throws himself at a lone girl and forces a kiss just as a detective and two policemen pass by their compartment. It reveals his desperation to remain free until he can prove his innocence. In the scene after Annabella staggers into his room with a kitchen knife in her back, Hannay sees her ghostly image (which is superimposed) talking to him, `What you are laughing at right now is true. These men will stop at nothing.' The double exposure achieves a result which is a tad chilling and sad. The hallmark of Hitchcock's style is his ability to completely shock his audience by deliberately playing against how they would be thinking. In such episodes as the murder of the woman in Hannay's apartment or when the vicious professor with the missing finger casually shoots Hannay, the action progresses almost nonchalantly leaving the viewers stunned.

A great story, interesting and likeable characters, slyly incongruous wit, classic Hitchcockian motifs and a great MacGuffin are just a few things that make the The 39 Steps the quintessential Hitchcock.

Richard Hannay is enjoying `crazy month' at his local music hall when shots ring out. He is approached by a young woman who asks can she shelter at his house. He takes her in and she tells him she must get to Scotland to try and contact a man about the 39 Steps in order to prevent vital information being smuggled out of the country. When she is murdered in his flat, he finds himself framed and goes on the run – his only chance to clear his name being to continue her trail and expose the real killers and the spy ring itself.

Having recently seen both the 1950's (poor) and 1970's (enjoyable) remakes, I decided to revisit the original film version of The 39 Steps. The Hitchcock film steps away from the book somewhat and is more a fast moving story of one little jape after another. It has quite a short running time and is surprisingly light on it's feet as it quickly moves from one scene to another. It is hard for me to judge how tense or exciting it is, having seen it so many times, but it always keeps me engaged, whether it be the witty political speech or the climax in the music hall.

The direction feels old and worn now but is actually very sharp and well paced. The film stock is worn and patchy and one shot in particular appears to be running at the wrong speed but it does have a very good sense of place. The highlands (and internals) feel like the highlands and the music hall atmosphere is well captured and treated with affection. The mix of humour and drama is well done, with alternate scenes using one or the other while some scenes mix the two very well.

Donat is partly to thank for this as his performance keeps things light without ever going so far as to wink at the audience or make us think that he is playing it for laughs. His is a charming lead and he plays it well. Carroll is well used as the traditional blonde cast by Hitchcock, she is a little dappy but she is a match for Donat in early scenes. The chief villain is a dry sort and would have made a good Bond villain with his mix of menace and manners.

Overall this is a classic film and for good reason. It is dramatic, funny and enjoyably light footed and fun to watch. It has stood the test of time and can be enjoyed by a mix of tastes due to these qualities. A good old fashioned mystery adventure story with plenty of witty touches from Hitchcock.

Tight and delicious. Everything matters and nothing matters. An amazing commercial eye without detracting from the poetry. Poetry? Yes poetry. Robert Donat was one of the best actors of his generation - I wonder why he's not better known. Maybe he will be rediscovered. The 39 Steps, The Winslow Boy, Goodbye Mr Chips just to name 3 of his spectacular performances. Madeleine Carroll is perfect as an early, classy and icy Hitchcock blonde. The coupling of Donat and Carroll has all the signature traits of the Master and it's downright irresistible. Not to be missed.

For sheer entertainment, it would be hard to top "The 39 Steps". While Hitchcock made other movies with more psychological depth and more fascinating characters, there is as much fast-paced suspense here as you will find in any of his later films, along with a good dose of humor and a wide variety of creative settings.

This is one of several movies on Hitchcock's theme of the unjustly accused man. In a nicely-crafted sequence at the beginning, Richard Hannay (Robert Donat), a Canadian visiting London, is caught up in a spy plot and suspected in a murder, and he spends the rest of the film trying to evade both the police and the actual killers. The settings include a London music hall, a train, the Scottish moors, a political meeting, and several others that add to the exciting story. For much of the action, Hannay is entangled with a skeptical blonde played by Madeleine Carroll, and the two have good chemistry in a running verbal battle. There are also several entertaining minor characters that add wit and interest, especially the music hall performer "Mr. Memory".

It all moves quickly and holds together well, resulting in great entertainment that will be enjoyed by anyone who likes classic thrillers.

Nearly every era in Hitchcock's directing career has incredible strengths. When we view a later film like "North by Northwest" we are tempted to say that "The 39 Steps" is simply a training film for the bigger budget, star studded film that came later. This is not true. This movie stands on its own. With wonderful actors like Robert Donat and Madeline Carrol, we are led on an intense ride, culminating in a crowded theater. There are amazing shots of the characters weaving their way through crowds, close ups used strictly for the purpose of moving the plot. With Hitchcock there is no excess. He is a poet with a camera. As the tension mounts and Donat's character becomes swept away in its arms, we are taken with it. His wisecracking character is out of words and must act, just as Cary Grant did in the aforementioned film. There is something lurking and we have to find out who it is and why does he need to know what he knows? I've seen this many times and will see it again.