Movie Reviews - 1930s postsMonday December 11, 2017
Movie Review: Black Legion (1937)
In an early scene, a bunch of machine-shop guys are hanging outside eating their lunches, wearing dirty overalls and 1930s-era working caps—called whoopee caps, which I think of as Jughead caps—and giving each other shit. Mostly they’re giving shit to Ed Jackson (Dick Foran), a big, beefy sort, who’s nursing a hangover because the night before he drank too much with the wrong dame, Pearl Danvers (Helen Flint). It’s all good-natured fun until Cliff Moore (Joe Sawyer) opens his yap. His target isn’t Ed but Joe Dombrowski (Henry Brandon), a handsome kid who’s reading a book with a sliderule.
“What do you got there,” he asks. “A honyock backscratcher?”
Honyock—I had to look it up—is an ethnic slur for Eastern Europeans. Most likely a compound of “Hungarian” and “Polack.”
Our hero, Frank Taylor (Humphrey Bogart), eventually tells Cliff to lay off, and we get this exchange:
Cliff: He’s always got his nose in a book.
Frank: It’s his nose, ain’t it?
Cliff: And a plenty big one at that.
Apparently Dombrowski was originally a Jewish character but got toned down in rewrites. The nose reference is all that’s left of that identity. Like Clementis’ fur hat.
Black Legion, White House
“Black Legion” is one of those Warner Bros. movies that were, as they used to say, “ripped from today’s headlines.” There really was a Black Legion, an offshoot of the Ku Klux Klan, with estimated membership as large as 125,000 in the 1930s. It was the usual mix of all-American nastiness: anti-Semitic, anti-immigrant, anti-socialist and anti-black. Malcolm X believed the Black Legion was responsible for the death of his father, while this movie is loosely based on the kidnapping and murder of WPA worker Charles Poole in Detroit in May 1936.
It’s also ripped from our headlines, isn’t it? At one point, Frank hears the following on the radio from a Father Coughlin-type sermonizer. The sentiments would not be out of place in a speech by Pres. Donald Trump today:
... hordes of grasping, pushing foreigners, who are stealing jobs from American workmen and bread from American homes. It is to combat this peril, to preserve and protect standards of living which made American workmen the envy of the world, that we, the challengers, have raised our rallying cry, “America for Americans!”
Think of that. Despite all the progress we've made, an 80-year-old stock Hollywood villain doesn't sound much different than the current president of the United States.
As a movie, “Black Legion” is a cautionary tale. From that lunch scene above, you’d suspect Ed might get involved in the Legion, maybe via Pearl Danvers, but no. Ed sobers up and proposes to Betty (Ann Sheridan). It’s Frank, our hero, who goes down the wrong path. And stays down it.
A foreman position opens up, everyone thinks he’ll get it, but it goes to Joe Dombrowski. Incensed, Frank hears the above radio broadcast and joins the Black Legion. Together, they burn down Dombrowski’s home, and ride him and his dad out of town on a rail, then celebrate with beers all around. Frank gets the foreman gig but almost immediately loses it again because he’s too busy recruiting for the Legion. This time it goes to Mike Grogan (Clifford Soubier), so they attack him, too. Cause he's Irish? Or because Frank is feeling, as our current media terms it, “economic anxiety”? Your call.
Yes, it’s a bit sanitized. The real Legion attacked Jews and blacks, rather than the Irish and Polish. Even so, what's fascinating about the film is that our hero isn't redeemed. Far from it. His wife and child leave him, he gets drunk with Pearl, then confesses all to Jim. When Jim demands Frank go to the police or he will, Frank panics, calls in the Legion, and they take Jim to the woods for a flogging. Instead, he’s shot trying to escape (by Frank), and the rest of the hooded Legion scatters.
Initially, at trial, they create a cockamamie story about how Jim was supposedly in love with Pearl, and that's what led to the tragedy. Odder still, they make Frank claim that he was in love with Pearl, too. It almost feels like this is the reason Frank finally breaks down on the stand and tells the truth. It's not the guilt at killing a pal, or the 11th-hour realization that xenophobia is bad; he just couldn’t stand anyone thinking he preferred the uglier woman.
As in the real Charles Poole case, all of them are sentences to life in prison. That's the end. Just that. So don’t join secret hooded hate groups, kids, or you’ll lose everything.
It was a tidy-enough lesson in 1937, but one we have to keep relearning, apparently. Once more from the top.
Movie Review: Island of Lost Souls (1932)
Thirty years ago I remember my friend Craig telling me he liked to begin his plays with characters entering the stage and basically saying, “Whew, glad that’s over.”
“Island of Lost Souls,” based on H.G. Wells’ 1896 novel “The Island of Dr. Moreau,” and which I watched, yes, because it was referenced in “Paterson,” begins similarly. Edward Parker (Richard Arlen) is picked up by a ship, the S.S. Covena, half mad on a life-raft, and for a moment I wondered if we’d get his tale in flashback. Nope. This is his “Whew.” His previous ship sunk, he seems to be its only survivor (no thought is given to the rest of the crew), and aboard the Covena he recovers nicely enough to deck the captain, a drunk piece of work named Davies (Stanley Fields). As reward, Davies sucker-punches him and deposits him, along with Davies’ cargo of wild animals, at their first port of call, which, earlier, he’d called “An island without a name. An island not on the chart.”
Thanks for everything, Julie Newmar
I’ve never read the novel, nor, before this, seen any of the story’s roughly half-dozen screen versions—from Germany’s “The Island of the Lost” in 1921 to John Frankenheimer’s 1996 remake with Marlon Brando and Val Kilmer—but I knew the basics: a doctor plays god with man and beast on an island. But I had always assumed Moreau was tinkering with both man and beast—that he was mixing genetic pools. Nope. Or not here anyway. Here, he takes animals and speeds up their evolutionary processes, which, he says, always tend toward the human. Apparently it’s not just apes that evolve into man; it’s everything.
Since his knowledge is incomplete, so are the results. He gets mostly missing links—hulking, hairy, monosyllabic creatures—although M’ling (Tetsu Komai) is a half-dog houseboy, while Lota (Kathleen Burke, film debut), Moreau’s most successful creation, is, as her film credit goes, “The Panther Woman.” Indeed, in the movie poster, she incorrectly gets all the credit. And the blame:
THE PANTHER WOMAN lured men—only to destroy them body and soul!
This is, what, eight years before Catwoman appeared? And 10 years before Simone Simon in “Cat People”? So we were already on board with that cat fantasy. Poor dogs, they get scraps. No superheroes, mostly pejorative metaphors.
Ever the scientist, Dr. Moreau (Charles Laughton) decides to throw Parker and Lota together. Can she seduce him? Will he fall in love? Will she? At the same time, like an idiot, he keeps experimenting on animals in the “House of Pain,” and since one cries out (in pain), Parker investigates. He draws the wrong conclusion: “They’re vivisecting a human being!” Like an idiot he confronts Moreau, who, like an idiot, explains everything. He even ends the macabre lecture in half-shadow, intoning ominously, “Do you know what it means to feel like a God?”
Way to go, Doc. Cards close to the chest, Doc.
In the midst of all of this, there’s a truly creepy moment when Parker and Lota flee, and they’re surrounded by the creatures in the jungle. She’s about to be assaulted by the hairy-faced Lawgiver (Bela Lugosi) when Moreau appears with a whip and we get this call and response:
Moreau: What is the law?
Sayer of the Law: Not to go on all fours, that is the law. Are we not men?
Beasts (in unison): Are we not men?
Moreau: What is the law?
Sayer of the Law: Not to spill blood, that is the law. Are we not men?
Beasts (in unison): Are we not men?
Yep, that’s where Devo got it. I never knew. Apparently “Island of Lost Souls” was particularly popular among bands of the ’80s and ’90s . Cf., “House of Pain.”
Banned in Britain
In the nearly 100 years since its release, what we want out of a horror film hasn’t changed much—this thing is still way creepy—but what we want in a leading man certainly has. Arlen is that 1930s all-American male: blunt, uncharismatic and unimaginative. You watch him act and think, “B pictures,“ which is where he wound up, despite co-starring in the award-winning “Wings” only four years earlier. He continued to act in movies and on TV into the 1970s.
I did like Leila Hyams as Ruth, the smart fiancée who tracks down Parker (she stopped making movies in 1936), and Paul Hurst as the captain of the ship who reluctantly joins the search (he died in '53). At Moreau’s, he’s plied with liquor, takes it all with a smile, and turns out to be not drunk at all. “Oh, you oughta see me when I’m real...” he says with a wink.
But it’s Laughton’s show. There’s a moment when he tells Parker the lengths it took to get his creatures to talk. Then he smiles a pleased-with-himself smile and says, “Someday I’ll create a woman and it’ll be easier.” I love that it’s both a joke (because women talk a lot, ha ha) and an inside joke (since he’s already created Lota), and Laughton manages to capture both of these feelings.
The ending is poetic justice. Moreau orders one of the missing links, Ouran (Hans Steinke), to kill Hurst before he gets to his ship. Since this goes against the Law, and since Ouran gets away with it, the creatures know the Law is bullshit. So they go after the one they truly hate: Moreau. They get him, strap him to a table, break out the knives. Cue scream. That, and the vivisection, got “Island of Lost Souls” banned in Britain until 1958, and even then it was censored. The original Paramount version wasn’t available in England until 2011.
So are movies like this where so many Americans get their anti-science bent? ”Lost Souls" understandably focuses on the horror of what Moreau does but not enough on the fact that, you know, he actually does it. He takes a panther and turns it into Kathleen Burke. I'm not saying he's not the villain, but give the man his props.
Movie Review: Blockade (1938)
“Blockade,” the only Hollywood feature film about the Spanish Civil War to be released during the Spanish Civil War, has been called an espionage thriller and a romance, but it’s really a “Whose Side Are You On?” movie. Will Norma, the once-wealthy Russian art dealer (Madeleine Carroll of “The 39 Steps”), come over to the side of Marco, the simple farmer/soldier played by Henry Fonda? Or will she betray his cause for the security and power of Andre Gallinet (a delicious John Halliday)?
We know the answer. And not just because the screenplay was written by John Howard Lawson, head of the Hollywood division of the American Communist Party.
Despite that lineage, by the way, “Blockade” has been whitewashed of almost every political reference. Civil war? The enemy seems external rather than internal. Spain? Never mentioned. So Hollywood’s great Spanish Civil War movie doesn’t mention Spain or a civil war. Yet The Knights of Columbus still considered it communist propaganda and picketed theaters. Here’s a snippet of the review from Catholic News, via Thomas Doherty’s book “Hollywood and Hitler: 1933-1939":
The Trojan horse is dragged within the walls! It’s a plea for peace, but peace at the Reds’ price!
Instead we got war at the fascists' price: about 50 million lives, more or less.
Oxen Express to Castlemar
The movie opens with Fonda as the poet/peasant Marco speaking with his friend Luis (Leo Carrillo), who is lazier and strumming a guitar, about the glory of farming and the beauty of the earth. “This belongs to us, Luis, and nothing can take it from us,” he says. Then bombs fall, villagers flee, but Marco rallies everyone: “No, we’ve always lived in this valley! ... This is our land!” and turns the tide. It also sets up a stalemate, and the titular blockade.
Marco and Norma meet cute before the bombs. She crashes her car, and Marco and Luis tow it for her to Castlemar—Luis on the oxen, Marco in the passenger’s seat. He flirts with her, quotes Byron. She says with a light laugh, “I’ve traveled on the Rome Express and the Orient Express but nothing can compare to the Oxen Express to Castlemar. I’ll never forget it.” He (enraptured as only Henry Fonda can be enraptured) respoinds, without a trace of a laugh, “I won’t, either.”
His early battle heroics make him a lieutenant on the good side, where he’s forced to wear a cloth cap with absurd tassel while ferreting out traitors. And it's not just him. We see a sign hanging in a bar:
DO NOT DISCUSS MILITARY MATTERS WITH STRANGERS
BEWARE OF SPIES
One of those is Norma’s father, who tries to trick Marco with the gun-in-the-shoe ploy, but Marco drops the old man. Norma discovers the body, and the killer, and the two lovers are distraught. At one point she gives this speech, which isn't a bad speech:
I was born in the Russian Revolution. My mother was killed with me in her arms in front of my father’s eyes. He took me to Budapest. There were guns in the streets and men marching. We escaped at night. China, South America, back to Shanghai. You think you’re fighting for your country but I know better, because I never had a country. My father followed any flag for the danger of it. [Pause] I never know how old and gray he was until I saw him die. He wanted a house and a garden. But that’s finished. You finished it. With one little bullet.
That’s much of the movie: He’s in love but a good soldier; she’s in love but he killed her father. Plus Andre Gallinet is so much more interesting.
Norma turns to the good side less for Fonda than for starving children and the women who lost them. Then she and Marco flush the rats from high places.
Happy ending? Not quite.
The conscience of the world
The bad guys are caught, sure, but the war goes on; and Marco, in classic Henry Fonda fashion, condemns it all in a Big Speech:
Our country's been turned into a battlefield! There’s no safety for old people and children. Women can't keep their families safe in their houses, they can't be safe in their own fields! Churches, schools, hospitals are targets! It's not war. War is between soldiers! It's murder! Murder of innocent people! There's no sense to it. The world can stop it. Where's the conscience of the world?
This last sentence, the last line of the film, is spoken less to other characters than to the camera—to us. That’s Lawson at his most strident, and he’s definitely getting at something, but it’s hardly the propaganda the Knights of Columbus made it out to be. Every anti-Fascist message isn't a pro-communist message. As itself, the movie is about defending your homeland. Ideology doesn’t factor in. And God and churches are plentiful. Even Joseph Breen, the Hays Office censor, thought the protests were a little cracked. “I have also heard from a number of Catholics,” he wrote to a co-censor, Father Lord, “many of them priests, who write and ask, ‘What is all of the shouting about?’”
In the end, “Blockade” lost money, the Fascists won Spain, and Generalissimo Francisco Franco ruled until 1975, when his death became a running joke on “Saturday Night Live.” Meanwhile, the movie’s producer, Walter Wanger, a longtime proponent of liberal causes, sold out his communist screenwriter, Lawson, not to mention the rest of the Hollywood 10, in a 1947 meeting before the Screenwriters Guild. Where’s the conscience of the world? Right about there.
The conscience of the world.
Movie Review: G-Men (1935)
WARNING: SPOILERS, SEE?
With a movie like “‘G’-Men,” one of the top-grossing films of 1935, and an early attempt to deglorify gangsters by turning James Cagney, the most glorious of cinematic gangsters, into a lawman, a government man, a ‘G’-man, you hold out hope that something besides Cagney is worthwhile. You know the movie won’t be “Angels with Dirty Faces” but you wouldn’t mind a plot twist that resonates, a shot that illuminates, a forgotten colloquialism that amuses. You want a scene like in “Blonde Crazy,” where Cagney meets a grifter selling charm bracelets. The charm? A swastika. A good-luck symbol that quickly turned into the ultimate bad-luck symbol.
Nothing like that in “G-Men.” Well, there’s that moment when luggage is loaded into the nose of a plane. Didn’t know they did that. There’s a good shot as crime boss Collins (Barton MacLane) makes a getaway via a fire escape that is lit from below:
Collins makes his escape in “G-Men” (1935)
Otherwise it’s a Cagney vehicle with Cagney finally on the right side of the law. His character, ‘Brick’ Davis, is still from the Lower East Side, as Cagney was, and rough-and-tumble, as Cagney was; but he’s saved from a life of crime (and from the Hays Code) by a benevolent bootlegger, ‘Mac’ Mckay (William Harrigan), who sends Davis through college and law school.
As the movie begins, Davis realizes that maybe he’s not cut out to be a sit-behind-a-desk lawyer. A friend, Eddie Buchanan (Regis Toomey), then encourages him to join the nascent Bureau of Investigation, which would be federalized into the FBI before filming was through. When Buchanan dies at the hands of gangsters, that seals the deal. Davis gets the OK from his mentor, who’s getting out of the gangster business anyway to run a lodge in Wisconsin, and joins up.
Does that lodge in Wisconsin sound vaguely familiar? It should.
At the Bureau, Davis runs into two mentors: Hugh Farrell (Lloyd Nolan), an expert at wrestling who is fairly benevolent, and who sees the value and toughness of the new recruit; and Jeff McCord (Robert Armstrong of “King Kong” fame), who starts out bitching about all the lawyers joining the Bureau, and who has it in for the smart-alecky Davis from the get-go. When Davis demonstrates his toughness by giving McCord a black eye in a boxing match, McCord resents it. When Davis demonstrates his value by correctly identifying the gardenia killer as Danny Leggett (Edward Pawley), McCord resents it. It takes him the entire movie to warm up to Davis, by which point he’s willing to welcome him into the family via his sister, Kay McCord (Margaret Lindsay), whom Cagney romances, or at least smooth-talks, throughout.
Two of the big shoot-outs in the film are based upon real incidents. When the mob springs Leggett in Kansas City, killing several officers including an unarmed Hugh Farrell, the screenwriter was adapting from the “Kansas City Massacre,” from June 1933, in which Frank “Jelly” Nash was sprung from federal custody while three police officers and an unarmed federal agent lost their lives. Later in the film, the remnants of the Collins gang hole up in ‘Mac’ Mckay’s Wisconsin lodge; and it’s there that they’re surrounded by, and shoot it out with, federal agents, in a scene reminiscent of the 1934 Little Bohemia Lodge shoot-out between federal agents and Baby Face Nelson and John Dillinger. With a twist. In the movie, no agent dies and all gangsters but Collins are caught or killed. In real life, despite having the element of surprise, the federal agents managed to kill several innocent bystanders but captured not one mobster. So it goes.
That takes us to the final act, where Jean Morgan (Ann Dvorak) is killed because she’s the bad girl, Kay is captured but freed because she’s the good girl (and a pain in the ass), and we get our happy Hays-Code ending with intimations of a wedding.
Again, it’s Cagney who recommends the movie. When mobsters pick a fight with him, his face lights up. When McCord dismisses him, his face lights up. When his sister sobs into his arms for fear for her brother, his face lights up mischievously rather than sympathetically. He’s got energy, a dancer’s posture, a joie de vivre.
I only decided to see “‘G’-Men” because it was referenced in Clint Eastwood’s biopic “J. Edgar.” Interestingly, much of what Hoover lobbies for in that film, this film lobbies for: making kidnapping a federal offense; making crossing state lines a federal offense; allowing federal agents to arm themselves. We see the experts at Bureau headquarters use forensic science—examining wood paneling and fingerprints—which is both the image and reality Hoover wanted for his bureau. According to some, Hoover even approved the script and assigned federal agents to monitor production. Even so, according to others, he disliked the final product. He couldn’t get past Davis’ insubordination—as if he were Jeff McCord himself. Once the movie became a hit, though, he used it, along with comic books and radio shows, to help promote the Bureau.
So it’s an ordinary film but consider this: “‘G’-Men” was one of four movies Seton Miller wrote in 1935; it’s one of five movies William Keighley directed in 1935; and it’s one of six movies in which James Cagney starred in 1935. Warners kept these guys busy. Rewrites and retakes weren’t big.
Keighley and Miller, by the way, would reunite two years later for “The Adventures of Robin Hood,” which almost starred Cagney before the lead went to Errol Flynn. Thankfully. I’m a Cagney fan, but come on.
Review: “The 39 Steps” (1935)
I'm taking a five-week course on Alfred Hitchcock this fall at the Northwest Film Forum so periodically I'll be posting reviews of the films we watch and discuss. Feel free to join the discussion...
WARNING: 39 SPOILERS
Here’s a snatch of dialogue from early in Alfred Hitchcock’s “The 39 Steps”:
She: May I come home with you?
He: What’s the idea?
She: Well, I’d like to.
He: It’s your funeral.
He is Richard Hannay (Robert Donat), a Canadian visiting London. She is Annabella, (Lucie Mannheim), who, unbeknownst to Hannay, is a secret agent. They’ve just met. They were both in a London music hall watching a man named Mr. Memory perform before a raucus crowd when shots were fired and everyone ran for the nearest exit. At the moment she’s playing the frightened woman even though she’s the one who fired the shots.
I love the economy in these four lines. With only 15 words, she seems to promise easy sex while he responds with a shrug—as if he knows he’s in a 1930s movie, where there is no sex, easy or otherwise. The final line is hilariously self-effacing. It’s also expert foreshadowing. Going home with Hannay will, in fact, be Annabella’s funeral.
“The 39 Steps” was the second of six films Alfred Hitchcock directed for Gaumont British Picture Corporation, films in which he began to perfect what became known as “the Hitchcock thriller,” and there’s something clean and nonchalant about it, the way there’s something clean and nonchalant about “The Great Gatsby” and “Raise High the Roof Beam, Carpenters.” There’s no wasted space in the plot even though we go off on tangents with quirky secondary characters, such as, here, the milkman, the underwear salesman, and the crofter and his wife. It feels pure and self-contained.
Hannay is the first great example of Hitchcock’s innocent man on the run. When he and Annabella get back to his flat, he fries her up some haddock while she tells her tale. Yes, she’s a spy. Yes, she fired those shots. There were men she needed to get away from. Those men are now outside. Hannay checks, confirms, and she warns him:
She: Now that they have followed us here, you are in it as much as I am.
He: How do you mean?
Now that’s innocent! Worse, though they seem intimate in the kitchen, always within a whisper of touching each other, the promise of easy sex remains just that: a promise. He gives her his bed while foolishly taking the couch, where, in the middle of the night, she wakes him, gurgling warnings, a knife in her back, a map of Scotland clutched in her dying hand. He backs away, wiping blood from his own hand. Now the men are chasing him. He may not get the sex but he catches the disease.
Annabella was vague about why she was being chased—because spies tend to be vague and because Hitchcock is always vague about his MacGuffin (that element that drives the story but is ultimately meaningless)—but Hannay knows the following: 1) Annabella was working to prevent information from leaving England; 2) there’s an important man to see in Scotland; 3) beware the man missing the top joint of his little finger.
Though Hannay gets away, just barely, from the bad guys, and settles into a train bound for Scotland, Hitchcock immediately lets us know there is no “away.” In the very next shot, a justifiably famous shot, Annabella’s body is discovered by a charwoman, and, as she turns toward the camera to scream, the sound we hear is the train whistle and the shot we see is the train coming out of a tunnel. It’s both humorous and immediately revives our sense of urgency. It’s as if the scream is already part of his getaway train. It’s as if the train now has the disease, too.
This is the second time in the film, by the way, that a face, or faces, have turned toward the camera, and us, in a moment of terror. The first was when shots were fired in the Music Hall.
The second is the charwoman finding the body.
First the gun, then the body. What comes next? Guilt and suspicion. The salesman on the train is actually in his own world of ladies underwear and cricket, yet he still stares with narrowed eyes at Hannay, and us, over the newspaper story of Annabella’s murder as if he knows.
I’m sure books have been written about this Hitchcockian perspective. But at its most base level it helps us identify with Hannay. We are the ones people are frightened and suspicious of. We’ve caught the disease, too.
Soon the police, who are remarkably efficient when the story needs them to be, board the train searching for Hannay. Trapped, Hannay barges into the compartment of a pretty blonde, calls out “Darling!” and kisses her as the police, clucking to themselves wistfully, pass; then he tries to get her, this stranger, on his side. It’s a key moment. The Hitchcock story isn’t just about the innocent person caught in a web of intrigue; it’s about the innocent person who can’t get anyone to believe their story. It’s the stuff of nightmares: I have the answer but no one believes me! The milkman—a great secondary character—was the first charcter who didn’t believe Hannay, and the pretty blonde, Pamela (Madeleine Carroll), who will be a primary character, is the second.
Pamela not only disbelieves him, and not only gives him up to the cops, but she does it with a kind of vindictiveness. When you contrast it with Hannay’s nurturing quality with Annabella in the kitchen, fixing her a meal, it seems not only unfair but unfeminine. Something more seems going on. One wonders if her anger stems from the sheer effrontery of Hannay’s kiss or the fact that she enjoyed the sheer effrontery of Hannay’s kiss.
Contrast her reaction, too, with the reaction of Margaret, the crofter’s wife (Peggy Ashcroft). Hannay escapes the cops on the train and makes his way across the moors of Scotland, where he chances upon an old scabby farm, run by an old scabby man, John (John Laurie), with whom he bargains for a room for the evening. Though John is suspicious by nature, it’s his wife, Margaret, who figures out why Hannay’s running, and who believes him, and who helps him escape and ultimately saves his life (with the hymnbook in the breastpocket). What does she get for it? An off-screen slap, and possibly worse, from her husband. Pamela, the ice queen, gets Hannay.
We get more caught/escape cycles. The important man from Scotland, Prof. Jordan (Godfrey Tearle), no. 2 from above, turns out to be no. 3 from above, the man missing the top joint of his little finger. Bad luck. The hymnbook saves Hannay there, and suddenly, for no apparent reason, he’s in the local police station, where the police finally believe him. Except they don’t. So he escapes again, this time through a political parade and into a political rally, where he’s on stage, and in the the midst of charmingly winning over the rowdy crowd (and anticipating Hugh Grant’s entire career), when he’s spotted by, whaddayaknow, Pamela, who promptly, and icily, gives him up a second time. Problem? She gives him up to the bad guys. And she’s brought along for the ride.
She gets hers, though. After he escapes again—this time handcuffed to Pamela—the two take a room at the Argyle Arms posing as newlyweds. Pamela is scandalized, you can see it in her pleading eyes, but we remember her previous behavior, so cold and unwomanly, and have no sympathy. Plus, let's face it, we’re titilated by her predicament. There’s a scene where she removes her damp stockings, Hannay’s handcuffed hand bumping along for the joyride, while the camera holds on her exquisite legs and silence—almost like held breath—envelopes everything. It’s one of the sexier 15 seconds in movie history.
The film ends where it began, in the music hall with Mr. Memory, whose rock-solid memory is the key to transporting the stolen information out of the country. On first viewing, this alley-oop seems brilliant. On second viewing, questions arise.
OK, so if Annabella was in the music hall in the beginning, did she know about Mr. Memory? If so, why point to Scotland? And how did those two bad guys kill her with a knife in the back but not get Hannay? Why kill Annabella—presumably inside the flat—and then phone Hannay from outside the flat? That makes no sense. And why phone the night before anyway? Aren’t they alerting both her and him to their presence? They’re not exactly putting the secret into secret agent, are they? Plus a hymnbook in the breast pocket? Come on. And Pamela shows up again at the political rally? In all the political rallies in all of Scotland, she has to walk into mine...
To which Hitchcock, somewhere, harrumphs. “I’m not concerned with plausibility,” he once said. Another time: “Must a picture be logical, when life is not?”
He might as well have said: Must a picture be logical when dreams are not?
Movies have been compared to dreams forever, and Hitchcock’s movies have been compared to nightmares forever, and this implausibility is part of the reason why. One can imagine Hannay waking up back in Canada and telling his friends about the odd dream he had:
I was in ... England, I suppose, and these fellows were after a woman, a beautiful woman, and I was trying to help her; and then they came after me. They thought I had information but I didn’t have information. I think I was charged with murder in there somewhere, too. I just kept running and getting caught, running and getting caught. I was even shot once but didn’t bleed. And there was another woman, another beautiful woman, who wouldn’t believe that I was innocent. No one believed it. So I had to keep running. Anyway, pass the sugar, will you?