NUMBER SEVENTEEN
UK, 1932, 64 minutes, Black and white.
Leon M. Lion, Anne Grey, Gary Marsh, Ann Casson.
Directed by Alfred Hitchcock.
Number 17 is one of Alfred Hitchcock's earliest sound films. Brief, the first part is like a play, set in the building which is Number 17. It introduces a range of characters who interact with each other in the house. The second part is a train chase, quite excitingly done with the special effect techniques available in the early '30s. There is a range of mixed identities and the resolution of a jewel robbery.
The film is artificial in style, but nevertheless is intriguing to see Hitchcock at work, toying with technique and with suspense. The black and white photography is expert and used to special effect.
The film anticipates many of the themes and styles of Hitchcock's later films.
1. An entertaining Hitchcock thriller? The emphasis on characters, robbery? The train chase?
2. The importance of the black and white photography and its style e.g. the leaves on the street, the torch, doors, staircases? Candles and shadows? The special effects for the train and bus chase? The train passing by the house and the scream? The editing and pace? Musical score?
3. The opening of the film and the focus on Number 17 with the leaves in the street? The searching of the house, the finding of the body, Barton's presence, Ruth's presence? The puzzling interaction? The night? Midnight and the new visitors? The transition to the train yards, the train itself and the action, the pace with the bus chasing the train, the final crash, the water, the double dealing With Doyle and Barton? An enjoyable combination of presentation and action?
4. The opening with the house, the mystery of Number 17, the body, the search?
5. The focus on Barton, his presence in the house, his reaction to Ben, to the body, to Ruth? His reaction to Sheldrake and the others? The mute girl? Ruth and himself being tied up? Being loosened by Nora? His pursuit of the gang, the bus, the final heroics? The revelation that he was Barton?
6. Ben and his being in the house, the comedy of the tramp, his fears, his pockets and the photo, the gun - its being loaded, looking at it and putting it in his mouth, blowing? The struggles and fights? The bathroom and his being strangled - and pretending? His taking the necklace? His being on the train? Participation in the action? Happy resolution? (And the exaggerated silent film style of his comedy?)
7. The man and the woman, Doyle accompanying them? Arriving at midnight, their cards? The gun? Suspicious potential buyers at midnight? The creeping around the house? The mute woman? The attack on Barton and Ruth? Tying them up? Sheldrake's arrival? Nora coming back and freeing Ruth and Barton? On the train, the struggles, the engine drivers? The final catastrophe?
8. Doyle and his sinister presence, activities on the train, pretending that he was Barton?
9. Ruth and her father, searching the house, being tied up, fainting? The contrast with Nora and her pretended muteness, her helping the couple, her activity on the train? The attraction towards Barton?
10. Ruth's father, his participation in the investigation, Sheldrake and his violence?
11. The simple elements of the thriller, their presentation in early sound form, Hitchcock's reliance on dialogue for the first part, his total reliance on the atmosphere of his visuals?
