A-Z of the films name checked in Kim Newman's book, listed in the order in which they…
Love held its breath as sudden terror held the stage!
A struggling actress tries to help a friend prove his innocence when he's accused of murdering the husband of a high society entertainer.
I never hope to be appreciated. Yes, your mother cured me of that.
An Alfred Hitchcock film that has the distinction of containing a big plot element that he later considered one of his biggest regrets. To say what it is would be a spoiler, but I'd like to point out that the twist of the film wasn't well received in 1950 because it was something never done before. Another famous film would do something very similar 45 years later but take it to it's utmost extreme.
It also has to be said that even though Hitchcock was one of the greatest directors to ever live, his…
Silly, arbitrarily-plotted Hitch film, set in London, his first British movie after leaving for Hollywood a decade earlier.
Jane Wyman is a stage-struck kid who risks it all for the man she loves (Richard Todd) after he's framed for murder by his lover (Marlene Dietrich), getting entangled with the investigating officer (Michael Wilding) and going deep undercover as a maid, with the help of an extraordinarily bad Cockney accent.
The story is so scatty that it seems as if they came up with the set pieces first and then just tried to tie them together - the director and his writers did sometimes work that way, successfully on North by Northwest - the balance of comedy and tension is never…
#18 in the Reverse Hitchcock project.
A very British cast (Richard Todd, Joyce Grenfell, Michael Wilding, the wonderful, wonderful Alastair Sim, Sybil Thorndike, Kay Walsh) join Marlene Dietrich and Jane Wyman in this mystery thriller which starts strongly with a flashback concerning Todd and Dietrich and the death of her husband.
With a bloodstain on her skirt like a flower (that dress will reappear later, more prominently) the divine Miss D (who was around fifty at the time) exudes glamour under adversity; and when we realise she is an actress we realise she is naturally stagey and able to give a performance.
Sending Todd to go back to the house of death seems to be putting him in the frame,…
At the time of its release, the now common yet then unprecedented and out of place "twist" caused much public debate and it led to Hitchcock referring to the addition of the twist as his second greatest mistake, behind the death of the little boy in Sabotage. Over time, such an ending has become common and by today's standards, despite mixed reviews even today, I find Stage Fright an entertaining film with a great mix of thrills and laughs.
The film begins in such an interesting way, with a man and woman driving away from the police. From here, flashbacks reveal what has happened earlier and how such events came to being. It's a truly engaging and original opening by…
The theme of deception in Hitchcock is explored in all of this films, both as a stamp of his directorial authorship and as an element that exists within the narrative. Role-playing, in particular, crops up often–Alicia posing as Sebastian’s lover in Notorious, Scottie’s obsession with recapturing the past in Vertigo, the strange case of Norma Bates. If Stage Fright has not maintained the reputation of the director’s greatest work, it is nonetheless an indispensable artifact in the analysis of Hitchcock in that the theme of deceit is foregrounded with an impertinent cheekiness, amounting to what might be the purest example of Hitchcock’s obsession with the fraudulence of cinema. Nearly every element in the film involves, if not direct role-playing (a…
Viewed on DVD
Stage Fright is a fine film and it isn't considered amongst Hitchcock's best films, because it isn't, but what makes Stage Fright very enjoyable are the performances of Jane Wyman, Michael Wilding,
the glamorous Marlene Dietrich and the excellent Alastair Sim.
Hitchcock broke a "rule" in filmmaking and was criticized and questioned about it at the time and put the film down after its release saying it was a mistake & had he had the time, he would re-shoot it.
Regardless, Stage Fright is an entertaining film with excellent actors and wonderful scenes.
Hitchcock hit a dry patch between Notorious and Strangers on a Train with four rather dull movies. Stage Fright is the best of them because of the stellar cast and some spectacular long camera takes. Marlene Dietrich steals the show as a spoiled diva suspected of murder. Hitchcock admitted that he made some wrong structural decisions on this one.
Definitely underrated, and actually one of the most hardcore Hitchcock films in terms of themes - STAGE is the artifice, FRIGHT speaks for itself. That sounds silly, but there's a whole reasoning to be made there.
One of Hitchcock's most underrated films - and also, one of the least Hitchcock-ian films ever.
But alas, Dietrich in Dior... and that is all that matters.
Great thriller from Hitchcock. Jane Wyman (Falcon Crest) is really good.
Wow... Quel plot twist de marde...
I remember being really smitten with Jane Wyman in The Yearling. Well here she is a much less compelling, less subtle performance as an actress cum detective trying to exonerate an also just-ok Richard Todd. The script doesn't do them any favors, but the supporting cast is a joy, even straight-man Michael Wilding. And Marlene Dietrich is Marlene Dietrich.
I enjoyed "Stage Fright," but I can see why it's not counted among Hitchcock's best.
Jane Wyman is unconvincing as a stage actress who goes "undercover" to investigate a murder that the man she loves is being blamed for. Marlene Dietrich plays this man's lover, and Wyman suspects her of framing him. The best performance, and the most compelling reason for watching the film, comes from Alistair Sim, as Wyman's cheeky father, who doesn't much care who murdered whom or why, but simply enjoys the drama of the chase.
"Stage Fright" doesn't have any of those thrilling Hitchcock set pieces or those dazzling shots he's known for, but what it lacks in style it makes up for in sense of humor. This is one of Hitchcock's more playful thrillers, with a more-than-usual amount of British humor.
Also with Richard Todd as the accused man, and Richard Wilding, giving a charming performance as a detective who falls for Wyman.
Underrated outing...lots of suspense, humor and an entertaining look at borrowed identities, the craft of acting and what lies just beneath the surface. Dietrich is great singing The Laziest Gal in Town.
All the films mentioned by Gilles Deleuze in Cinema 1: The Movement Image and Cinema 2: The Time-Image because someone…
I hope it goes without saying, if a Hitchcock film is not included here, I just haven't seen it.