The Trouble With Harry

Title: The Trouble With Harry
Year: 1955
Studio: Paramount Pictures
Screenplay: John Michael Hayes
Source Material: A novel by Jack Trevor Story
Running Time: 95 minutes

Saturday 21st May, 8:50am
Another early start but with a couple of interruptions. One from the online supermarket delivery (huzzah) and another for a quick nap as I was feeling desperately tired for some unknown reason. After about a 40 minute nap, I woke up and had a poo and suddenly I felt better.
Strangely, just minutes before I was to begin watching the film, I noticed my friend Lorna (in the UK) had posted on Facebook that she had just watched The Trouble With Harry - rather a coincidence, wouldn't you say?

Cast
Captain Albert Wiles - Edmund Gwenn
Sam Marlowe - John Forsythe
Ivy Gravely - Mildred Natwick
Mrs Wiggs - Mildred Dunnock
Arnie Rogers - Jerry Mathers
Calvin Wiggs - Royal Dano
Millionaire - Parker Fennelly
Tramp - Barry Macollum
Dr Greenbow - Dwight Marfield
Jennifer Rogers - Shirley Maclaine
Harry Worp - Philip Truex

Synopsis
Young Arnie Rogers is taking a walk through the countryside with his toy gun. He hears three gunshots. Eventually he stumbles upon the corpse of a man. He runs off.
Soon after, Captain Albert Wiles stumbles across the body. He has been out attempting to hunt rabbits, but is ashamed he has failed so miserably. He is appalled when he discovers the body and assumes the death was his fault with a stray bullet. He finds a letter within the man's pocket and sees that the man was Harry Worp from Boston.

As he tries to drag the body away, Miss Ivy Gravely, a spinster, arrives. She seems unsurprised by the situation and simply asks the Captain to join her later for coffee and blueberry muffins. She goes on her way. Before the captain can move Harry, more people arrive in succession. Captain Wiles hides behind a tree and watches the various interactions with the corpse.
First Jennifer Rogers, who has brought by her son, Arnie. Jennifer is somewhat relieved that Harry is dead and nonchalantly turns away again.
Then, Doc Greenwood walks through the glade reading his book, trips over Harry's feet, falls over and gets up, not paying any attention to the cause of his trip.
Then a tramp comes along - sees the corpse and steals his shoes.
The Captain soon tires and naps in his hiding place.

In the mean time, Sam Marlowe, a local struggling artist speaks to Mrs Wiggs at her store, seeing if anyone has shown any interest in his paintings. Her son, the deputy sheriff is busy tinkering with his car which is wanting to sell.
Ivy Gravely enters the store and she shows signs of wanting to impress a certain fellow. Sam suggests they give her a makeover. Outside, a millionaire is showing interest in Sam's paintings, but with no one to pay, he drives on.

Later, Sam goes up the hill and begins to sketch. He notices Harry's corpse and continues to sketch the dead man's face in pastel. The Captain is now awake and approaches Sam. They discuss the situation and decide they have to hide Harry, so they leave him behind a fallen tree. First they need to talk to Jennifer for her opinion.

Sam goes to see Jennifer and has an odd conversation with her son, Arnie:

Sam: "Perhaps I'll come back tomorrow."
Arnie: "When's that?"
Sam: "The day after today."
Arnie: "That's yesterday. Today's tomorrow."
Sam: "It was..."
Arnie: "When was tomorrow yesterday, Mr Marlowe?"
Sam: "Today."
Arnie: "Oh, sure, yesterday."
Jennifer: "You'll never make sense out of Arnie. He's got his own timing."

Arnie has a dead rabbit which he trades for a frog that Sam has brought with him. He then asks for the rabbit back so he can make more trades.

Sam learns from Jennifer that Harry was the brother of the man who was Arnie's father, who died before Arnie was born. Harry married Jennifer out of a sense of duty but on the wedding night, jilted her as his horoscopes warned him off:

Don't start a new project... it will never be finished

...so Jennifer changed her name, took Arnie and left to live a more reclusive life. Harry had turned up that morning and during a heated discussion, she had hit him with a milk bottle and he had staggered off into the wood, somewhat dazed.

Captain Wiles has his coffee date with Miss Ivy Gravely which is a slightly awkward affair as they try and figure each other out. Arnie turns up and produces the dead rabbit. He claims it was killed by the captain that morning - this pleases Captain Wiles immensely as he has never had much success.

Then, Sam and Captain Wiles go to bury Harry. Once six feet under, Captain Wiles realises something. If his bullet had killed a rabbit (and there was evidence he'd also hit a tin can and a 'no shooting' sign) then all of his bullets were accounted for. This means, he is innocent - so they dig Harry up again. Examining the corpse, they figure it must be the graze on his head - evidence of a blunt instrument. Knowing what Jennifer told Sam, they decide it best to bury Harry again.

Miss Gravely later visits the Captain at his home and she confesses that she thinks she killed Harry. He had staggered towards her and was under the impression she was Jennifer. He tried to drag her into some nearby bushes and when her hiking shoe came off in the struggle, she had hit him with it.
They go and dig Harry up again as she feels it is what is best.

Later that evening, while Arnie is in bed, Sam, Captain Gravely and Ivy are all at Miss Rogers' home. After a discussion about the circumstances, they think it is probably best for all if they make a pact and bury him again.

Mrs Wiggs bursts in saying that there is a millionaire wanting to buy Sam's paintings, so they all head over to the shop. Sam doesn't want money and persuades him to provide for his friends as well. Strawberries delivered monthly for Jennifer, a new cash register for Mrs Wiggs, a hope chest for Ivy, a shotgun for the Captain, a chemical set for Arnie and, for himself, something he can only whisper to the benevolent art lover. Sam then insinuates to Jennifer that he would like to propose. She thinks about it...

Deputy Sheriff Calvin Wiggs arrives and he has found Harry's shoes on a tramp. The story he has been told is that the tramp got the shoes off a dead man in the woods. Sam also sees the sketch Sam made of Harry and he notices how it resembles the description the tramp had made of the dead body.

Back at Miss Rogers' home, Jen accepts Sam's proposal. However, if he is to marry her, they have to prove Harry id\s dead first. So it's time to dig Harry up again.
Once out of the ground again, the group are confronted by Doc Greenbow, out for another of his walks. Jen explains that the dead man is her late husband and he says he will determine the cause of death. He says he'll meet them all at Jen's house where the light will be better., The others carry Harry there.

They wash Harry's clothes and hide him in the bath tub when Calvin Wiggs arrives asking questions. He has the sketch with him. Sam says he just made up the face from his imagination and with a few quick changes with his pastels, he shows the face alive and well. Meanwhile, Captain Wiles steals Harry's shoes out of Calvin's car. All evidence is now effectively ruined.
Having got rid of Calvin. They redress Harry and return him to his spot in the woods.
They arrange for Arnie to find him again, and (brilliantly) with Arnie's sense of timing, he will not be able to describe exactly when he found the body to the police.
It is also revealed that Sam had asked the millionaire for something very practical... a double bed.

The Trouble With Harry is Over.

Great Lines
Being a black comedy, the screenplay is littered with some witty gems.

Captain Wiles: (to Harry) "Worp, you're a long way from home. With the looks of it, you won't get back for Christmas!"

When the Captain considers the beauty of Jennifer Rogers, young enough to be his granddaughter, he says "Wish I was two years younger..."

Arnie's philosophy on the luck of nature: "Four rabbit's feet and he got killed."
...and when he has made a trade for the frog with Sam he asks for the rabbit back explaining; "You never know when a dead rabbit will come in handy. It already got me one frog!"

Jennifer's cavalier attitude to Harry's passing is delightful:

"You can stuff him for all I care. Stuff him and put him in a glass case. Only I'd suggest frosted glass."

Comments
This was the first of many films to be scored by the superb Bernard Herrmann.

Not only is it Bernard's debut with Hitch, but it is also Shirley Maclaine's first big screen role. For me, her defining moment in cinema history is the brilliant portrayal of Charity Hope Valentine in Bob Fosse's Sweet Charity, a film which succeeds in breaking my heart every time I watch it. So much joy and yet so sad.
Shirley was also nominated for BAFTA for her role as Jennifer Rogers. Not bad for a debut!

Some may find the absurdities of the farcical plot a little too much to take, but one has to have the suspension of disbelief if one is to enjoy the black comedy within.

Edmund Gwenn is such a pleasure to watch, as always, and it's a genuinely 'laugh out loud' moment when it is revealed that he leaves Miss Gravely to dig all on her own.

The dialogue is brilliant in its innocuousness and blasé attitude to such serious issues and the occasional innuendo is subtle enough not to offend.

There is a sweet gentility to the whole proceeding and I think anyone who cannot find the charm within is possibly a little cold-hearted.

My Verdict
I was surprised to find one other guide give this a mere 3 out of 10. I can only assume the reviewers were hung-over or something the day they watched. I think it's a splendid curiosity with the right levels of dark humour and some beautiful cinematography. 7/10

To Catch a Thief

Title: To Catch a Thief
Year: 1955
Studio: Paramount Pictures
Screenplay: John Michael Hayes
Source Material: From the novel by David Dodge
Running Time: 102 minutes

Monday 16th May, 9:00am
It has been just about a year since I started this blog. I did have that short break whilst I was on holiday in the UK, but I have maintained a reasonably consistent timetable which surprises me somewhat.
Today I have a day off work - I needed a long weekend for personal reasons - and this morning was the best time for me to tackle To Catch a Thief. I have a friend who really does not like this film because he knows and loves the original novel too well. However, I have never read it so I can only take the film at face value.
It's another one of those that I have seen a number of times before but it's always interesting taking a fresh look.

Cast
John Robie - Cary Grant
Frances Stevens - Grace Kelly
Jessie Stevens - Jessie Royce Landis
H.H. Hughson - John Williams
Bertani - Charles Vanel
Danielle Foussard - Brigitte Auber
Foussard - Jean Martinelli
Germaine - Georgette Anys

Synopsis
Robberies are taking place in the south of France and the local police are pretty convinced the modus operandi is that of once convicted John 'The Cat' Robie. John is trying to live a new life in his villa having given up the criminal life 15 years previously. When pursued by the police, he runs to an old friend, Bertani, who runs a restaurant which employs some other ex-cons in the kitchens. It seems everyone is suspicious of John and feel he is letting the side down by getting up to his old tricks.

John is determined to prove his innocence and he feels the only way to do this is for him to catch the cat-thief himself. He asks Bertani for help and the latter suggests he meet with a friend of his who will be able to help him out with a list of people within the area who may fit the bill for 'potential victims'. Escaping the arms of the police again, he gets a ride from Danielle Foussard, the daughter of the maître d', and she teases him about him being the current thief terrorising the locals.

Later, John meets this contact - a fellow from Lloyd's in London - named Hughson. He can provide John with a list as promised. However, during their meeting, the police catch up with him. Due to not having enough evidence to keep him in custody, he is released and he finishes his meeting with Hughson at his own villa.
On the list is an American woman named Jessie Stevens who is holidaying with her daughter, Frances. Hughson arranges a surreptitious meeting at the casino. John calls himself Conrad Burns and ingratiates himself to Jessie. Frances seems to fall for him too and even kisses him goodnight, much to his surprise.
They spend time together on the beach the following day and Frances shows signs of jealousy when she sees him talking to the young Danielle.
There are signs that John is being closely watched by the real 'Cat' - he receives anonymous messages warning him off and he also finds a wet smudge on the list of wealthy residents when he returns to his clothes after swimming.

John and Frances go villa hunting together and she announces that she knows the truth - she knows he is not Conrad Burns, but John Robie, the cat burglar. He denies it emphatically, but she is smug in the knowledge that she is right. She finds the whole thing entirely thrilling - until that night, her mother's jewels are stolen. In a cheap retaliation, she calls the police. Her mother thinks she is being crazy and allows John to escape the clutches of the police once more.

Robie hides out for a few days but resurfaces in order to contact Hughson to arrange a plan. He has received another note form the new 'Cat' telling him to stay away from the Silvas' villa that night - an obvious trap. That night, Foussard is killed at the villa and the police announce that he was the culprit. Robie is not impressed as he knows Foussard had a wooden leg and could simply not have been the burglar.
He intends to continue his plan to seek the real criminal.

At the funeral for Foussard, Danielle accuses Robie of murdering her father. Her stalks away, stung by the implication but as he leaves, he sees an apologetic Frances who declares her love for him (finally coming to her senses!) He uses this opportunity to wangle an invitation to the Sanfordd's ball.

At a costume party at the Sanford's mansion, Hughson switches places with Robie in a masked costume to divert the police's attention. Meanwhile, Robie lurks on the roof awaiting the Cat. He catches them in the act and reveals it is young Danielle Foussard. She slips from the roof and almost falls, but he has her in his grip. Whilst the police crowd below, he makes her confess that she is the cat burglar and that she had been doing it for her father, but the whole thing had been orchestrated by Bertani - the man who knew more about Robie's M.O. than anyone else.

Later, exonerated, Robie is at his home and Frances arrives - she makes him admit he needed help to achieve his goal and he does so. She falls into his arms and comments how perfect this place will be when she and her mother move in.

THE END

Great Lines
On the home made Quiche Lorraine:

Hughson: "Hm, it's wonderful. The pastry is as light as air!"

Robie: "Ah, Germaine has very sensitive hands, an exceedingly light touch."

Hughson: "Yes, I can tell."

Robie: "She strangled a German general once, without a sound!"

Hughson: "Extraordinary woman."

Jessie Royce Landis also gets a bevy of stunning lines - too many to list here.

Comments
If there is one thing I find slightly grating about this film it's the overtly smug dialogue between Francie and John. The cat and mouse game is certainly sharp, biting and laden with innuendo; but it is also a little too conceited and unrealistic. Francie just comes across as a little spoiled smart-arse at times and when she then has a strop and calls the police when she suspects John, one can't help thinking she is a whiny bitch. However, much praise is deserved for her mother to say exactly what we're all thinking - that she needs a good spanking.

Jessie Royce Landis is quite simply the best thing about this film. Her character is written well and she plays it adroitly. The character's attitude towards her jewellery and the insurance is refreshing and her knowledge of human nature is accurate and perfectly tuned. If she were not in the film, I would have very little interest in the romance between Francie and John.

Hitch has frequently featured cats in little cameo roles throughout his movies - it's almost as much as a drinking game as trying to spot him. In the opening scenes, he plays this card heavily and humorously with the suggestion that the term 'cat-thief' is more than just a metaphor. However, it is simply a tease from the master.

There are some other noteworthy Hitchcockian moments:
Whilst watching the fireworks in the dimly lit hotel room, Francie's face is shrouded in darkness as a shaft of light merely highlights the (faux) diamonds around her neck and her cleavage.
The sequence at the end upon the roof is classic Hitch. Tense and mysterious, playing with shadows. He does love his rooftop scenes (See Blackmail and Vertigo for two examples).

Grace Kelly is beautiful but as I mentioned above, I find her character a little too annoying to be likable.
Cary Grant is great at the ex-con seeking redemption, continuing with an air of charismatic grace, but it is odd how in a couple of scenes his tan is so dark, he looks black.

In a slightly different note, I want to mention DVD subtitles. I often watch these films with subtitles so I can catch every bit of dialogue and note down the occasional gem. Some DVD subtitles are better than others. The one on this specific DVD were pretty lame. I think subtitles should be accurate to the dialogue, not just something more-or-less similar to what is being spoken. I can only think it's pure laziness.

My Verdict
Beautifully filmed with stunning cinematography (Academy Award winning too) but I feel somewhat detached throughout. 6/10

Rear Window

Title: Rear Window
Year: 1954
Studio: Paramount Pictures
Screenplay: John Michael Hayes
Source Material: A short story by Cornell Woolrich (As William Irish) called It Had To Be Murder.
Running Time: 107 minutes

Sunday 8th May, 7:05am
The worst alarm call of them all is the unbearable stench of a hot, runny, fresh cat poo. Yes, Fizzgig delivered "a steamy" in her litter tray first thing this morning which roused me from slumber earlier than I would have perhaps wished. Despite the distance between my bed and the laundry in which her toilet is situated, it still travelled towards my nostrils. Still, it gave me time to watch the latest film in the Hitchcock blog before I head out at lunchtime.

Cast
L.B. "Jeff" Jefferies - James Stewart
Lisa Carol Fremont - Grace Kelly
Thomas J. Doyle - Wendell Corey
Stella - Thelma Ritter
Lars Thorwald - Raymond Burr
Miss Lonelyhearts - Judith Evelyn
Composer - Ross Bagdasarian
Miss Torso - Gerogine Darcy
Woman on fire escape - Sara Berner
Man on fire escape - Frank Cady
Miss Hearing Aid - Jesslyn Fax
Honeymooner "Harry" - Rand Harper
Anna Thorwald - Irene Winston
Harry's wife - Havis Davenport

Synopsis
WEDNESDAY
There is a heatwave and photographer, L.B. "Jeff" Jeffries, is trapped in his apartment due to a broken leg which he got whilst taking pictures at a car race. He is one week away from having the cast removed and it's driving him mad.
He is visited daily by a nurse named Stella who has her own views on life and can be very philosophical in her own way.
From his temporary prison, Jeff watches the lives of his neighbours from his window.
There is 'Miss Torso', a dancer who seems to be fond of entertaining but does not seem to have any relationships with any of the men.
There's 'Miss Lonelyhearts' who is desperately lonely and even plays out imaginary dates in her apartment.
There's the composer who is recently single and buries himself in his music.
There's the dog-loving couple who sleep on the fire escape due to the heat of the night.
There's the newly-wed couple who are in for a few romantic nights in their new home.
There's the female sculptor who lives for her art.
Then there's the salesman and his invalid wife...

In the evening, Jeff's girlfriend, Lisa visits. She is a model and absolutely adores Jeff but has become increasingly frustrated with his lack of commitment to their relationship. He is too afraid of marriage and nothing seems to make him change his mind.
Jeff and Lisa argue about their future and his choice of career. They part on a sour note, but she knows she'll be back again tomorrow.
That night, in the early hours of Thursday morning, Jeff hears a woman scream and hears the sound of broken glass. He watches as the salesman leaves his apartment and returns (a couple of times) in the pouring rain...

THURSDAY
The couple on the fire escape have a little dog whom they adore. Each day, she puts the dog in the basket and lowers him down to the gardens below via a pulley system. The dog can then play and do his business.
Jeff is worried that the salesman may have murdered his wife and Stella (who is visiting again to give him a massage) is not impressed by Jeff's voyeurism and over-active imagination.
Before Stella leaves again, Jeff asks her to pass him the binoculars so he can see the events across the way better. He also gets his telephoto lens for his camera. He witnesses the salesman wrapping up a machete and a small saw in newspaper.

Lisa does visit again that night and they are back to their affectionate ways but they are soon interrupted when the salesman returns home with rope. Lisa is initially reluctant to believe Jeff's suspicions about the salesman murdering his wife but the more she watches, the more she is coming around to his way of thinking. On her way home, she checks the mailbox to get the name of the suspect - Lars Thorwald. She telephones Jeff to let him know...

FRIDAY
Jeff calls his old friend Thomas Doyle who is a detective. Tom says he'll come 'round to visit. Sadly, he does not get there in time to see Thorwald getting rid of a large trunk bound with rope which is picked up by a freight company. Stella tries to get to the truck to get the name of the company but she misses it by seconds.
Doyle arrives and listens to Jeff's story. He says he'll do some poking around.

Outside, the dog is digging around in a flowerbed but Lars shoos the dog away.

Later, Doyle returns to see Jeff. Apparently, Mrs Thorwald left at 6:00am and has gone to the country - according to the superintendent and a couple of witnesses.
A telegram was sent to Lars stating Arrived OK. Already feeling better. Love, Anna.
Doyle thinks there is no case to investigate. Jeff is not so sure.

Lars returns home. He has had some shirts cleaned at the laundry and he is beginning to pack. He has his wife's handbag which contains a load of jewellery. Lisa (who is going to stay over for the night) thinks it is odd that a woman would leave her jewellery behind if she was going on a trip and would leave it all messed up in a handbag!
Doyle returns to ward them both off the track and to convince them to stop meddling.
Meanwhile, Miss Lonelyhearts has gone out for a date. She returns home with a man who is too fresh with her - she slaps him and kicks him out, she weeps alone again.

The evening is disturbed by a cry. The poor little dog is dead. Its neck has been broken. The whole courtyard is alive with neighbours viewing from their windows - the only person who does not watch is Lars Thorwald.

SATURDAY
Both Stella and Lisa are with Jeff. They are watching Lars clean his apartment - washing the bathroom walls.
Jeff gets out a slide of a picture he took a few days ago and shows the difference between then and now. The zinnias in the garden have shrunk! Obviously something had been buried out there and the plants replaced.
They write Lars a note saying WHAT HAVE YOU DONE WITH HER? and Lisa goes to deliver it. Lars seems genuinely perturbed by the note. Lisa wonders if Mrs Thorwald's wedding ring will be in the handbag with her jewellery and they all want to know what is buried underneath the zinnias.
After looking up Lars Thorwald's number in the phone book, they call him and insinuate they know what has happened and tell him to come to the bar at the Albert Hotel.
Lars leaves and this gives Stella and Lisa time to get down to the garden and do some digging - literally. They find nothing in the flowerbed, so Lisa has an idea. She climbs the fire escape and climbs in through Lars' window. She gets to the handbag, but it is empty. She searches further. However, Thorwald has returned! Jeff and Stella can only watch in panic as he discovers her in his rooms. Jeff has called the police and they arrive in time to prevent him from hurting her. She has, however, found the wedding ring and has it on her own finger. Lisa is arrested and Jeff sends Stella along with some money to get her out on bail.
Lars has pieced things together and pays Jeff a visit.
In the darkness of the apartment, Lars approaches Jeff, who is trapped in his wheelchair. Lars wants to know what Jeff wants from him. Jeff sets off flashbulbs to temporarily blind Lars but it does not hold him back for long. Lars attacks Jeff and tries to throw him out of the window. The police arrive and arrest Lars having had the tip off from Lisa. However, they are too late for Jeff, who falls to the courtyard below. He's alive, but pleased it's all over.

A FEW DAYS LATER
Miss Torso's boyfriend arrives home from the army. Miss Lonelyhearts has teamed up with the composer, the fire escape couple have a new dog and the newly-weds are showing signs of strain already. And then there's Jeff, with both legs in plaster and Lisa by his side...

THE END

Great Lines
It is a superb script with wonderful lines throughout delivered to perfection by the exquisite cast. Here are some gems:

Gunnison (Jeff's editor) on the phone: "Wives don't nag any more, they 'discuss'!"

***

Jeff: "Are you interested in solving this case or in making me look foolish?"

Doyle: "Well, if possible, both!"

***

Doyle: "Look, Miss Fremont, that femine intuition stuff sells magazines but in real life, it's still a fairytale."

***

When Jeff worries about not having enough money to bail Lisa out of jail:

Stella: "...when the cops see Lisa, they'll even contribute!"

Comments
Thelma Ritter is absolutely superb as Stella. Her embodiment of this practical and philosophical character with a gruesome edge is absolutely perfect. Her delivery is magnificent.

The set, as frequently documented elsewhere, was one of the largest built at that time. Incorporating all those individual apartments and making the inner life so believable must have been quite a chore, but - boy! - it works!

This is Grace Kelly's second Hitchcock film and she is as radiant as ever, even if it's a conventional beauty she possesses.

The soundtrack is worth noting because throughout the events, it is scored by the music coming from the apartments - be it the dancer's music or the composer's party tunes or his own compositions. Due to the confined nature of the set, this works so much better than having a background incidental score. We are able to believe in the mini-world created before us.

James Stewart is so utterly watchable in just about everything he does. Here we are inclined to sympathise with him more than ever due to his crippled status. We totally feel his anguish when he is helplessly watching as Lisa is caught in Lars' apartment and again when he is alone and being attacked by the killer.

This is another Hitchcock film which has been remade and 'paid homage to' a great number of times - but why bother watching them when this is so perfect?

My Verdict
Hitchcock has created a brilliant film with a perfect cast and a most astonishing set. Initially, I wasn't going to give it full marks (only a 9 or 9.5), but I couldn't figure out why not, so - 10/10

Dial M For Murder

Title: Dial M For Murder
Year: 1954
Studio: Warner Brothers
Screenplay: Frederick Knott
Source Material: Based on Knott's own play
Running Time: 101 minutes

Sunday 1st May, 8:00am
I was up at five o'clock this morning. I'd had a kind of premonition. I thought I heard an alarm and then I smelt burnt toast. This all faded as I stirred and entered the real world, but only half an hour later, I actually burned my toast and the kitchen was filling with smoke - if I had a battery in my smoke alarm, it would have been making quite a fuss, I have no doubt. No why can't I have a dream about lottery numbers for crying out loud??
So, up early, I caught up on some TV viewing which I was behind on (in this case, Being Human) and the settled down to watch the latest in the line of Hitch...

I do have a penchant for murder mystery play-cum-films. There are some classics out there: Twelve Angry Men, Sleuth, Deathtrap and of course Rope. Here is another which falls neatly into that category.

Cast
Tony Wendice - Ray Milland
Margot Wendice - Grace Kelly
Mark Halliday - Robert Cummings
Inspector Hubbard - John Williams
Swann/Lesgate - Anthony Dawson
Storyteller - Leo Britt
Pearson - Patrick Allen
Williams - George Leigh
First Detective - George Alderson
Police Sergeant - Robin Hughes

Synopsis
It's Friday 26th March and American TV mystery writer Mark Halliday arrives in Britain on the Queen Mary. He makes a rendezvous with his lover, Margot Wendice at her home. She tells Mark that since their last meeting a year ago, her husband has changed and become a better man. She also tells of how she had kept one of Mark's love letters but it had been stolen from her at Victoria Station when her handbag had gone missing. She then received blackmail letters but never found out who it was who was doing the callous deed.
Her husband, Tony, returns from his work and they all behave in a civil manner toward each other.
The three of them were planning to go out to the theatre together, but Tony declines and says he has work to do. When the others are gone, he telephones a man about a car he'd like to purchase and invites the gentleman over.
This turns out to be merely a ruse. He knows this gentleman from long ago and has spent the past few months following him. The man's real name is Swann and Tony has discovered his nefarious lifestyle. He proposes a plan in which both men will make some money. He reveals that he has known about his wife's affair and has been saving money for twelve months to pay Swann to kill her whilst he has the perfect alibi. Swann is reluctant, but Tony explains how he ought to do as he is told, otherwise his dodgy dealings will be exposed to the police. Swann has little choice other than to go through with it the following evening.

Tony explains everything in the plan:

Tony and Mark will attend a stag do at a hotel. He will leave his wife's key to the flat outside in the hall under the stair carpet. (The front door to the apartment block is always open)
Swann should then use this key to let himself in.
When indie, he will wait behind the curtain until 11pm. At which time, Tony will telephone the flat from the hotel. This will wake Margot who will come to the desk to answer it. This is when Swann should kill her. Then, once she is dead, he should arrange the place to look like a burglary and then exit leaving the key back under the stair carpet.

The following night, things are set up, but Tony's plans are almost foiled when Margot says she might go out after all. He persuades her to stay in and slips her key out of her handbag without knowing and leaves it in the right spot on the stairs in the hallway.

Swann arrives just before 11pm and lets himself in. He waits behind the curtain but Tony is late in calling - this is because Tony's watch has stopped and only realises a few minutes after 11. Eventually, Tony makes the call. Margot wakes, comes to answer the phone and Swann attempts to strangle her with a scarf. In the struggle, she reaches for some scissors on the desk and plunges them into his back. He falls backwards and the scissors thrust deeper inside, killing him.
Tony has heard the whole thing over the phone. She picks it up and he speaks to her saying he'll return immediately.

Once home, he waits for Margot to go into the bedroom before removing her key from the corpse. He also plants the incriminating love letter in Swann's breast pocket. He then destroys the scarf in the fire and replaces the weapon with a pair of her stockings.
The police arrive and examine the scene and evidence and find the delicately positioned stockings.

The next morning, Inspector Hubbard comes around to make inquires. Mark turns up and feels they have to make their affair known to Tony and the police.It isn't long before the evidence piles up against Margot. It all points to her knowing that Swann was the blackmailer and she had killed him on purpose, not in self defence.

At trail, Margot is found guilty and she is sentenced to death by hanging.

The day before the execution, Mark turns up at Tony's again. He has had plenty of time to think things through and he has come up with a scenario. He has figured the plausible answer which may save Margot's life. If Tony would only admit to planning the whole thing. Tony is adamant that the whole scheme is nonsense, but when Inspector Hubbard turns up to enquire about some stolen money, plus the fact it seems Tony has been spending more than usual recently, Mark is convinced about his notion being true and not just the over-active imagination of a mystery writer.

Eventually, the inspector leaves, but he switches his coat for Tony's before he exits.

When Tony leaves his home, Hubbard returns and lets himself in. Mark also returns and asks what is going on. Margot is escorted from her cell to her home and she cannot let herself in because her key won't work, so she goes with the police to the back entrance where Hubbard and Mark are waiting. This is the clue he had been waiting for. Then, Tony returns. His key doesn't open the door either. He is about to leave when he realises something... The key he had extracted from Swann's pocket was not his wife's and her key must still be under the stair carpet where Swann had left it on the night of the murder (having returned it prior to entering the room).
As soon as Tony lets himself into the room with that key, Hubbard has all the evidence he needs. Tony is defeated and Margot is safe from the noose.

THE END

Great Lines
Wendice on his recent spying activities:

"You take up a hobby, the more you get to know it, the more fascinating it becomes!"

Then, whilst persuading Swann:

Swann: "What makes you think I'll agree?"

Wendice: "The same reason a donkey with a stick behind him and a carrot in front always goes forward, not backwards."

and Inspector Hubbard's brilliant line:

"They talk about flat-footed policemen. May the saints protect us from the gifted amateur."

Comments
Ray Milland is so casually smooth and nonchalantly evil. There are moments when he seems to have a James Mason thing going on, which can't be a bad thing.
John Williams is superb as Inspector Hubbard. Delightfully watchable as the man not easily persuaded by convoluted plots.
Robert Cummings is also good in his role as a 'mystery writer' and lover, but when he starts to piece things together in his own dramatic way, I couldn't help thinking of Jessica Fletcher.

As is reasonably common knowledge, this was filmed in 3D - a gimmick I am desperately unfond of, partly due to my eyes not being very good - and the murder scene is the only moment which might benefit from a bit of 3D action.

The courtroom scene is played beautifully with only our focus on Margot's face. This technique was also applied to great effect in an episode of Murder Most Horrid entitled A Determined Woman.

A couple of other moments which stand out for me as far as direction is concerned are:

At the beginning, when Margot and Mark are in an embrace and Tony returns, we see them separate but viewing their shadows part as they are cast along the door through which Tony enters. It's so simple but very effective.

There are a couple of times we watch the scene from above and we witness the layout of the flat as the crime is plotted. This gives us a detached perspective but almost one of a voyeur who knows more than he should. Hitch knows how to make his audience uncomfortable.

One of the most notable things about Dial M For Murder is the rapid nature of the plot. 100 minutes simply fly by thanks to a terrific script and taught direction.

It has been remade a number of times since, but most notably in 1998 as A Perfect Murder starring Michael Douglas, Gwyneth Paltrow, David Suchet and a pleasantly naked Viggo Mortensen.

My Verdict
The simplicity of the evidence which leads to Wendice's downfall is the 'key' to the success as far as I'm concerned. A very classy mystery. 8/10

I Confess

Title: I Confess
Year: 1953
Studio: Warner Brothers
Screenplay: George Tabori & William Archibald
Source Material: From a play by Paul Anthelme
Running Time: 90 minutes
A black & white picture

Sunday 24th April, 8:00am
Today is Easter Sunday, so it seems kind of fitting I end up watching a film with a heavy religious theme. I started early as I am going out this afternoon to catch up with some dear friends. Sure, with it being an extra long weekend (five days thanks to Easter Monday falling on Anzac day!) I could have postponed the viewing to Monday or Tuesday, but for a lazy Sunday morning, it seemed perfectly timed. Tea and biscuits at the ready and a snuggly dressing gown enveloping me, I was all set.
I must confess (ho ho ho) that I am worried about eating too much bad stuff this weekend. I don't want to get back over 80kilograms again after working so hard to become slender over the past year. How I am going to cope with that packet of Cadbury's Creme Eggs in my 'fridge is anyone's guess.

Cast
Father Michael William Logan - Montgomery Clift
Ruth Grandfort - Anne Baxter
Inspector Larrue - Karl Malden
Willy Robertson - Brian Aherne
Otto Keller - O.E. Hasse
Pierre Grandfort - Roger Dann
Alma Keller - Dolly Haas
Father Millars - Charles Andre
Mr Villette - Ovila Légaré
Murphy - Joseph Pratt
Father Benoit - Gilles Pelletier

Synopsis
A man named Villette is murdered. The killer, Otto Keller removes his disguise - a priest's cassock, and heads straight to confessional where he tells Father Logan what he has done. He then returns home to confess to his wife and explains how all he wanted to do was steal $2,000 so they could start a new life. Both Otto and his wife, Alma, work at the rectory where Father Logan lives.
The following morning, Otto heads to Villette's home as he normally would do on a Wednesday morning as that is when he'd tend the garden. He then 'discovers' the body and calls the police. Logan arrives and sees the crowd. He goes to the house and tells the police he had an appointment.
A young blonde woman (Ruth Grandfort) also arrives and when Logan tells her about the murder, she is relived and says "We're free!"

Two young girls had been babysitting and were returning home late last night and they tell police they saw a priest leaving the scene of the crime some time after 11pm.
Inspector Larrue gets his man, Murphy, to enquire around town at all the rectories to find out which priests were out that night. Eventually they come to Logan who has difficulty giving a decent alibi.

Larrue contacts the crown prosecutor, Willy Robertson, who is, at that time, attending a party held by Ruth and Pierre Grandfort. Larrue says he thinks he knows who the murderer is and Ruth is worried.

Ruth feels she has to save Logan and tells the police that she was being blackmailed by Villette and she had been with Logan the night of the murder to discuss it. She then tells of the sequence of events leading up to the event from when she first met Logan and they fell in love. War came along and interrupted their romance. After a few years, she married Pierre and when the war was over, Logan returned and they spent a stormy night together on an island. She had not told him of her recent marriage. Villette discovered them and, knowing of her marriage makes nasty comments which rile Logan enough to strike him.
Years pass and Logan becomes ordained. Eventually, Villette falls on hard times and comes to Ruth in need of money - if she doesn't pay, there will be a huge scandal.

Ruth's confession provides Logan with an alibi between 9pm and 11pm but after she leaves, Larrue admits to Robertson that the autopsy states Villette dies around 11:30.
When Ruth learns that she has not only failed to provide a decent alibi but has also given a motive. They suspect Logan killed Villette to stop him from telling of their affair, even though nothing had actually been going on for years.

In court, Keller lies and frames Logan even further. Logan struggles with his oath and tries to do the right thing. Luckily, the jury find him not guilty due to insufficient evidence. However, the judge expresses his displeasure and the crowds outside are intense with some hurling abuse at the now free man whose name and reputation have been sullied by the trial.
Alma is so distressed when she sees the way the mob are treating the innocent Logan, she runs to him shouting "He's innocent". Otto panics and shots his wife. The crowd disperse and the police chase after Otto. As Alma dies, she prays for forgiveness.

At the nearby hotel, Otto runs from the police shooting a chef in the process. Eventually, he is cornered in the ballroom. He assumes Logan has betrayed him and thus confesses to all. In a showdown, he is shot and he too asks for forgiveness from the man he framed and tried to kill.

The End

Great Lines
Admittedly, there aren't any humdingers as the serious tone quashes most room for joy, but there were a couple of phrases which are of note.

Michael Logan gives a calm response and admittedly fair conclusion to Larrue's insinuations following evidence of a priest witnessed at the scene of the crime:

"Well, then, I would say a man of intelligence would not be led to believe anything on so little evidence."

Ruth's panic over her statement which may be the downfall of Logan:

"They'll twist what I've said. They'll turn it. They'll use it. I've given them what they wanted. I was going to help Michael... but I've destroyed him."

And the one slightly humorous line in the entire film comes from one of two young girl witnesses.

Larrue: "Sorry I had to drag you away from school."

Girl: "We love to be dragged away from school. Thank you!"

Comments
This is only the third time I have watched I Confess. The first time, I hate to admit it, I was bored. The second time was much more enjoyable and this time I got even more out of it.

The one thing that I feel is missing from the film is a sense of humour. The only hint of levity is in regard to Benoit and his bicycle, which isn't exactly an example of great hilarity. Even though the subject matter is serious, that has never been a problem for Hitch in the past.

Some reviewers seem keen to express their distaste and dissatisfaction about this film merely on the basis that they cannot comprehend the dilemma of Logan's position. I am not Catholic nor very religious, but to question someone's faith (even a fictional character's) is a rather weak criticism.

Although I have made a point about not listing each and every Hitchcock cameo throughout his films, I do want to mention this one as it's immediate and startlingly effective as he walks across the screen in a most artistic and beautiful shot.

Speaking of which, the film is littered with stunning visuals and fantastic camera angles. The shots of Otto walking the streets at night and then removing his disguise with his shadow looming before him; the mob scene after Logan is acquitted (mob scenes always creep me out. It's almost a sort of phobia) and the lovely sequence when Montgomery Clift (hmmm, pretty...) is battling his inner demons as he walks about town - we can see exactly what he is thinking about without one word of dialogue. Genius!

My Verdict
Strangers on a Train is a hard act to follow... Although I have come to appreciate this film more over the years, it is still only an 'average' Hitchcock movie. 6/10

Strangers on a Train

Title: Strangers on a Train
Year: 1951
Studio: Warner Brothers
Screenplay: Raymond Chandler and Czenzi Ormande (adaptation by Whitfield Cook)
Source Material: The novel by Patricia Highsmith
Running Time: 96 minutes
A black & white picture

Sunday 17th April, 1:30pm
I had planned on being on a honeymoon today. The plan was this:
I go to see the Scottish comedian, Danny Bhoy, last night... he'd spy me in the crowd, fall madly in love with me and we'd elope over night and end up somewhere like Hawaii by lunchtime today.
Sadly, he had to spoil it all by a) not spying me and b) not being gay.
So, instead, I spent the day in my PJs doing laundry and watching DVDs. Thankfully, part of the day was taken up watching one of my all-time favourite movies; Strangers on a Train...

Cast
Guy Haines - Farley Granger
Anne Morton - Ruth Roman
Bruno Antony - Robert Walker
Senator Morton - Leo G Carroll
Barbara Morton - Patricia Hitchcock
Miriam Joyce Haines - Laura Elliott
Mrs Antony - Marion Lorne
Mr Antony - Jonathan Hale
Captain Turley - Howard St John
Professor Collins - John Brown
Mrs Cunningham - Norma Varden
Detective Leslie Hennessey - Robert Gist
Detective Hammond - John Doucette

Synopsis
Two men meet on a train by accident. One is Guy Haines, a successful young tennis player with sights on marrying a senator's daughter despite already being married. The other is Bruno Antony, a playboy with dangerous delusions and some wicked notions.
Whilst dining, Bruno tells of his idea about swapping murders and offers, supposedly hypothetically as far as Guy is concerned, that Bruno kills Guy's current wife and Guy kills Bruno's domineering father.
Guy shrugs off the meeting as a brief encounter with a loony and gets off at Metcalf (accidentally leaving his personalised cigarette lighter behind in Bruno's compartment) in order to talk to his philandering wife, Miriam Joyce Haines, about their impending divorce.
Miriam works at Miller's Music Store and during their meeting, she announces that she has since changed her mind about the divorce since Guy's career has suddenly sky-rocketed. She will keep the baby (which is not Guy's) and threaten scandal if he leaves her in the lurch. Fuming with rage, he leaves the smug bitch in the shop and immediately telephones Anne (his lover) to explain the horrible situation - he admits he'd like to strangle Miriam.

One evening, Bruno travels to Metcalf and finds out where Miriam lives. He waits for her until she leaves the house with two 'boyfriends', George and Tommy. He follows them to a fairground where he stalks her. She sees him and she flirts casually with him as he follows her to various stalls and onto the merry-go-round.
The three young people decide to take a boat through 'The Tunnel of Love' and have some fun on the 'Magic Isle' - Bruno takes a boat too and follows.
Miriam and the boys separate on the isle and Bruno catches her. He holds Guy's cigarette lighter up to her face and asks "Is your name Miriam?" and when she replies that it is, he slowly strangles the life out of her body.

Nonchalantly, Bruno climbs back into his boat and returns to the mainland.
He arrives at Guy's home and shows him the evidence of his success - Miriam's broken glasses. Guy is appalled but Bruno threatens him with the fact he'll be seen as an accomplice. Bruno wants Guy to go through with the murder of Mr Antony.

Guy returns to his home and receives a call from Anne - she asks him to go to her home. When he turns up, Anne, her sister Barbara and her father, the senator, are waiting for him and they tell him the tragic news, little knowing he is already familiar with the details. Guy says he has an alibi - a Professor Collins from Delaware Tech, who was on the train with him at around the time of the murder. Frustratingly, when the chief of police, Captain Turley, finds the Professor, it is discovered that the man was drunk and cannot recall the meeting at all.

Turley assigns two detectives, Hennessey and Hammond, to take turns in tailing Guy whilst procedures take place.

Bruno begins to stalk Guy, turning up at his tennis matches, following him to the museum etc. Bruno posts him the key to his father's home, includes a map of the building. He even sends him the gun he wishes Guy to use.
On one meeting, Bruno spies Barbara and is aghast at how similar she is in looks to the murdered Miriam. This haunts him once more whilst at a function held by the senator, Bruno strikes up a conversation with a Mrs Cunningham and her friend Mrs Anderson about the perfect murder. Bruno demonstrates the simplicity of strangulation but when he sees Barbara in the background, he goes into a trance and nearly kills Mrs Cunningham whose throat is being crushed by his grip.

Guy wants Bruno to leave him alone and Anne is becoming more and more suspicious. She confronts Guy and he admits to what is going on, but still professing his innocence.
Guy telephones Bruno and says he will go through with it, but that night, having slipped the detective, he arrives at Bruno's father's home only to find Bruno waiting for him. Guy was going to tell Mr Antony the truth about his son but instead tells Bruno that he needs some sort of psychiatric help.
Bruno is not impressed and says he won't kill Guy, he will find something much better...

Anne visits Mrs Antony, trying to persuade her to stop her son. Mrs Antony is having none of it and thinks it is all too silly. Bruno arrives and tells Anne that it was all Guy's doing and how Guy wanted Bruno to retrieve the lighter from the scene of the crime.
With this informative clue, Anne and Guy realise Bruno is going to plant it back on the Isle.
They need to get there before Bruno but without the police getting in the way. However, Guy has a tennis match to finish and win first.

Having won the match (playing against his usual style) Guy races to Metcalf with the help of Barbara who hinders the detectives in their pursuit.
Bruno is also hindered slightly when he accidentally drops the lighter down a drain. He wastes valuable time trying to retrieve it - telling curious passers-by that it's a cigarette case in order to not arouse suspicions later...

Guy finally makes it to the fairground as night draws in. Bruno has been unable to get a boat to the island as the morbid curiosity of the public have increased interest in the 'Magic Isle'.
Guy spies Bruno and Bruno leaps onto the moving merry-go-round, Guy joins him. Two Metcalf policemen try to stop Guy and fire a gun - it hits the operator who slumps to the floor taking the control lever down with him causing the ride to speed up.
Guy and Bruno fight as the children scream around them. One fairground attendant manages to crawl beneath the spinning beast and reach the brake which brings it to a shuddering, screeching halt. It thunders and crashes, injuring the riders and the spectators. The policemen search the wreckage and find Guy in good health. However, the man who operates the boat stall had recognised Bruno as the same man from the night of Miriam's murder. The cops still don't believe Guy's innocence, despite his story - until Bruno's crushed body finally gives up and he dies, releasing the grip he has on Guy's cigarette lighter.

Guy has some explaining to do, but he is basically off the hook... and free to marry Anne Morton.

The End.

Great Lines

Mrs Antony: "I do hope you've forgotten all about that silly plan of yours."

Bruno: "Which one?"

Mrs Antony: "About blowing up the White House."

Bruno: "Oh Ma, I was only fooling. Besides, what would the President say?!"

Mrs Antony: "You're a naughty boy, Bruno!"

***

Barbara: "Nothing stands in your way now. You can be married right away. Think of it, you're free!"

Senator Morton: "One doesn't always have to say what one thinks."

Barbara: "Father, I am not a politician."

***

When Bruno sees Anne Morton at the museum:

Bruno: "Slight improvement on Miriam, huh, Guy?!"

***

Senator Morton worries about what the gossips will say after Bruno's little "scene" at the party:

Senator Morton: : "...first thing you know they'll be talking about orgies!"

***

And the chillingly delivered:

Bruno: "Is your name Miriam?"

Comments
Farley Granger died on March 27th of this year. I won't deny that I have always had a bit of a crush on him, ever since I first saw Strangers on a Train and even though he lived to a good age (85) it is still a great loss. He was a charming and beautiful man. (It's that bottom lip of his...)
Robert Walker's performance as Bruno Antony is exquisite. He portrays the unhinged madman with such elegance and class. Once again, as with Rope, we teeter on the edge of the suggestion of homosexuality and Robert's performance is subtle and daring.
Patricia Hitchcock may be an example of nepotism within the industry, but it's not unjustified as her performance as the brutally frank Barbara Morton is pure perfection.

There are so many glorious little touches of black humour. One of my favourites is Bruno's casual demeanour as he stalks Miriam in the park - bursts a child's balloon with his cigarette and then eats popcorn on his way to killing Miriam on the island.

One rather creepy image is when guy sees Bruno in the crowd at the tennis match. Everyone else's heads are turning in rhythm with the flying ball except for Bruno's whose eye-line is permanently on Guy.

The most exciting denouement is delivered with magnificent pace and energy. The whole scene on the merry-go-round is desperately nail-biting and eerie as The Band Played On plays on at a faster speed accompanied by screams from petrified riders and bystanders alike. This scene never fails to chill me. One of Hitch's best moments out of his long career.

Although the story has been remade a couple of times since (why, oh why?) I can recommend the film Throw Momma From the Train. It isn't a direct remake, but more of an homage to the original with splendid direction from Danny DeVito (and a nice early performance from 24th Century Starship Captain Kathryn Janeway AKA Kate Mulgrew from Star Trek)

One final thing... I have always said to myself (and others who care to listen) that if I ever had to choose one prop from film history to own, it would have to be the cigarette lighter inscribed 'From A to G'. Maybe one day I will be able to buy it (or at least have a perfect replica...)
Marion Lorne will be known to most as the lovable but ditzy Aunt Clara from TV's Bewitched.

My Verdict
I have never shied away from announcing this as one of my all-time favourites. Sure, there a couple of plot holes, but I don't give a damn. It's superbly played with one of the BEST climaxes to a thriller ever. 10/10

Stage Fright

Title: Stage Fright
Year: 1950
Studio: Warner Brothers
Screenplay: Whitfield Cook. Adapted by Alma Reville with additional dialogue by James Bridle
Source Material: Man Running by Selwyn Jepson
Running Time: 105 minutes
A black & white picture

Sunday 10th April, 9:45am
Last weekend I was simply too busy to get around to doing this blog. You have to understand that it takes a few hours to watch the film (with plenty of pausing to jot down notes and scribble down great lines) and then another couple of hours to write it all up. This is why I am single.
I figure that if I only have one weekend off from here on in, I should finish this blog on Hitchcock's birthday (if all goes to plan...)
Once again, I am going to try my best to truncate the plot so I don't have to spend ages detailing every tiny little moment. It may seem rushed, but I'm hungry and want some lunch.
(I will also take it as read that whoever reads this knows the ending of the movie...)
(Gosh, I love brackets)

Cast
Eve Gill - Jane Wyman
Charlotte Inwood - Marlene Dietrich
Inspector Wilfred 'Ordinary' Smith - Michael Wilding
Jonathan Cooper - Richard Todd
Mrs Gill - Sybil Thorndike
Nellie Goode - Kay Walsh
Mr Fortesque - Miles Mallerson
Freddie Williams - Hector MacGregor
Woman manning the "Lovely Ducks" stall - Joyce Grenfell
Inspector Byard - Andre Morell
Chubby Bannister - Patricia Highsmith
Sergeant Mellish - Ballard Berkeley
Commodore Gill - Alistair Sim

Synopsis
The Safety Curtain raises to reveal London.
Eve Gill is driving through town with alacrity as her passenger, Jonathan Cooper, relays his tale of adventure. He has been caught up in a murder. His lover, famous actress Charlotte Inwood, has killed her husband and has come to him for help wearing her bloodstained outfit. He helps her out by returning to the scene of the crime to pick up a clean dress for Charlotte and to rearrange things to make it look like a break-in only to be caught in the act by Nellie, the maid. The police come looking for Jonnie but he evades them and goes in search of Eve so that she can help him out. He finds her at RADA rehearsing...
Eve, upon hearing teh story and being slightly enamoured with Jonnie, agrees to help.

She takes him to her father's place by the sea where Jonathan burns the bloodstained dress. Eve wants to go and talk to Charlotte to talk to her and help Jonnie. Commodore Gill keeps a roof over Jonnie's head and asks Eve to not get involved as it could be dangerous. The next morning, Eve sneaks out, disregarding her father's wishes, only to find a note from him in the car:

Remember she's a dangerous woman, so BE CAREFUL
Your loving Father

Back in London, Eve manages to wheedle her way into the life of a detective named Smith by playing the weak and feeble bystander. They build up an immediate rapport and she is able to get some information from him whilst becoming a little attracted to him. Nellie, Inwood's maid, enters the same public house and starts nattering about what she knows.

Eve pretends to be a reporter and offers to pay Nellie so that she can take her place and do some snooping. Nellie is a mercenary woman and agrees. Eve 'becomes' Doris Tinsdale and replaces Nellie as Charlotte's maid as Nellie feigns illness. However, this means Eve has to avoid Wilfred Smith when ever he comes to talk to Charlotte about the murder.

At a fund-raising garden party where Charlotte is performing Eve and her father try to expose Charlotte as the guilty party . The Commodore wins a doll, smears some of his own blood on the doll's dress and persuades a young scout to deliver the doll to Charlotte whilst she performs. Charlotte is taken aback and almost collapses. Unfortunately for Eve, she is needed as Charlotte's maid and thus is exposed to Detective Smith with whom she has attended the event.

Afterwards, the Commodore and Eve have to tell Smith everything. He is not impressed by their meddling nor by the fact it seems he has been used by Eve. She tries to persuade him that she did once love Jonnie and that is why she got involved but now she is falling for Smith.

With help from the police and the theatre, they try to catch Charlotte out by bugging the quick-change dressing room and getting her to talk about the dress and the murder. Eve gets Charlotte talking but the confession is not quite what was expected. Charlotte blames Jonnie and reveals how he was the one who committed the crime. Eve is reluctant to believe it until soon, Jonnie is on the run again and she hides him in the theatre basement. It turns out he has a criminal history and he believes the only way he can get away with his life intact would be to plead insanity. The only way to prove his unhinged mental state would be to kill again for no apparent reason.
Eve says she will help him but locks him in the orchestra pit and screams for help.
The police come for him and he tries to escape, only to be crushed by the falling safety curtain as he clambers onto the stage.

Wilfred Smith embraces and consoles Eve as they walk off-stage together.

THE END

Great Lines

Commodore Gill and his daughter discuss the anoozing Jonathan:

Commodore Gill: "He's a friend of yours is he?"

Eve Gill: "Oh yes..."

Commodore Gill: "I see - More than a friend, eh?"

Eve Gill: "When I am with him, I get a feeling in here that... that's sort of..."

Commodore Gill: "Yes, well... we'll go into symptoms later. Meanwhile, I take it you're either keen on him or still hungry."

When Charlotte is being dressed for the funeral, she is not keen on the style:

Charlotte Inwood: "If we could only work in a little colour somewhere. Oh well..."

Charlotte on detectives:

"They are only policemen with smaller feet."

Charlotte on small talk:

"I hope you're not going to turn into one of those explicit people who always tell you exactly how they feel when you ask them."

And for all other great lines, just listen to all scenes with Alistair Sim and his brilliant delivery.

Comments
I love the way we are thrown straight into the plot. there is no faffing around. As soon as that curtain is raised, we're knee deep in plot and adventure, even if it is not all is it seems to be at first.
The whole 'stage' theme is played continually throughout, sometimes subtly, sometimes brashly, but either way effectively. As Shakespeare wrote: All the world's a stage...

There are a number of utterly delightful scenes within the movie. For a start, the scenes at the home of the Gill's are always glistening with sparkling dialogue - particularly when Sybil Thorndike and Alistair Sim are trading their banter.
The scene where Marlene is singing Je vois la vie en rose as the cub scout produces the doll with the blood stained dress is eerily directed as only Hitch could.
My favourite scene has to be where Alistair Sim tries to purchase a doll from the hilarious Joyce Grenfell at the "Lovely Ducks" stall. First he offers to buy the doll until he realises how much he'll have to fork out. Then he tries to win one, but fails miserably. He pretends a larger fellow's winning turn was his own, but his opponents threatening nature persuades him to give that one up and, with this lesson in mind, turns the tables on a weaker chap to his right who turns out to be easily intimidated. It's a golden moment of comedy.

Finally, two little casting notes.
Ballard Berkeley who plays Mellish will always be Major Gowen from Fawlty Towers to me.
Patricia Hitchcock, Alfred's daughter, makes her first of three appearances within her father's films - this time as the oddly monikered 'Chubby Bannister'. It makes me think of something easy to slide down but too wide to grip. Thank heavens this isn't a Carry On film.

My Verdict
Hitchcock is wonderful at blending comedy with thriller. The mystery is played out very well and Jane Wyman is as entrancing as she is attractive. The twisting plot is gripping too. The only negative thing is the all-too convenient placing of Jonathan in various scenes. He seems to be terrible at hiding. 8/10