#18 in the Reverse Hitchcock project.

A very British cast (Richard Todd, Joyce Grenfell, Michael Wilding, the wonderful, wonderful Alastair Sim, Sybil Thorndike, Kay Walsh) join Marlene Dietrich and Jane Wyman in this mystery thriller which starts strongly with a flashback concerning Todd and Dietrich and the death of her husband.

With a bloodstain on her skirt like a flower (that dress will reappear later, more prominently) the divine Miss D (who was around fifty at the time) exudes glamour under adversity; and when we realise she is an actress we realise she is naturally stagey and able to give a performance.

Sending Todd to go back to the house of death seems to be putting him in the frame, and that’s our first hint of unease. But he goes, and doesn’t just find her a new dress, he tries to hide evidence of the crime. There are stunning wardrobes fit for a queen. Then a scream, a maid, and a need to run.

I’m not convinced that Richard Todd cuts it as a Hitchcock leading man, much as I admire him in other roles. He doesn’t have the sense of urgency or debonair ease that characterises a Grant. As Dietrich’s lover he is frankly absurd while he never quite feels like a desperate man in danger. Compare this with The Wrong Man and you can see a difference, but these were small steps in the direction of the misaccused, which would resurface again in North by Northwest and Frenzy.

This, of all the Hitchcock canon, is the title which would work the best as a rather heightened melodrama, performed with a knowing slant by modern performers. It teeters on the edge of the ridiculous, even if it gets there by the idiocy of a man who puts love before common sense, and then compunds the error by going on the run.

If you view this film simply as hokum and fun, as it is, you will enjoy this. The first Mrs Reagan, Jane Wyman, is the faithful friend (the Midge of Vertigo, for example) who helps Todd evade the police by becoming Dietrich’s maid and exposing the truth, and she fits in well with her British co-stars and their eccentricity.

Vía Letterboxd – loureviews

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