Mary ★★½

This completist exercise is more teutonic (read: not funny) than Hitchcock’s original, and rather fabulous Murder (1930). Unlike, for example, George Melford’s Spanish version of Tod Browning’s Dracula, with its many adherents arguing for superiority, only the trapeze autoerotic asphyxiation finale stands out to me as superior. I’m guessing the German actor had greater upper body strength, and this allowed Hitchcock to create the more believably vertiginous oscillating shots. Both versions then use the same circus panic footage before ending differently: the German has a reunion at the ominous jail, replacing Hitch’s playful proscenium conclusion along with it’s meta- implications.

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