THE LADY VANISHES
UK, 1938, 97 minutes, Black and white.
Michael Redgrave, Margaret Lockwood, Googie Withers, Dame May Whitty, Paul Lukas, Basil Radford, Naunton Wayne, Cecil Parker, Linden Travers, Catherine Lacey.
Directed by Alfred Hitchcock.
One of Alfred Hitchcock's most famous films.
It was very popular in its time and has lasted well. However, the fact that it was made in England in the thirties is quite evident, especially in the use of studio sets and backdrops. They look particularly artificial.
However, the screenplay by prominent writers-directors, Sidney Gilliat and Frank Launder, keeps the action and the humour moving. The novel was by Ethel Lena White, The Wheel Spins. There are excellent performances especially by Michael Redgrave in one of his earliest roles. Dame May Whitty was the famous vanishing lady and Paul Lukas an expert villain. Basil Radford and Naunton Wayne made a very good comic appearance as the two Englishmen abroad preoccupied with cricket - and they made a career together of playing eccentric English gentlemen.
There are many Hitchcock touches in this story of a train trip. Hitchcock was very fond of journeys and trains. It also is in his particular area of espionage and captured the atmosphere of pre-war Europe. Hitchcock was to make only one more film in England, the unsuccessful Jamaica Run and then moved to his Hollywood career beginning with Rebecca, which won the best film of 1940 at the Academy Awards. There was an elaborate and colourful re-make by director Anthony Page and writer George Axelrod in the late seventies. It was an international co-production starring Elliot Gould and Cybil Shepherd. Angela Lansbury was the vanishing lady and Arthur Love and Ian Carmichael took up where Naunton Wayne and Basil Radford left off. Herbert Lom exerted his usual style as the villain.
1. The film in considered classic Hitchcock. His British phase? Audience expectations from a Hitchcock thriller?
2. The quality of enjoyment of this film in terms of plot, the drama, the mystery, the comedy overtones, thriller aspects? How well worn?
3. The cinema techniques and the artificiality? The use of studies and artificial nets? Do these detract from the impact of the film? Those in comparison with the implausibilities and the tricks of the plot?
4. How plausible was the plot? On analysis most people find it impossible and some of the incidents, for example Miss Froy being a spy and the message communicated in a tune impossible? Did this matter while the film was in progress? The film's capacity for engaging audience involvement?
5. The importance of the European setting? The contrast with England? English people on the Continent and the spy atmosphere? The hero and the heroine and their comic meeting? The importance of the comedy about the rooms? Gilbert's recording the folk dancing? Iris and her spoilt society attitude? The build-up of the atmosphere of the hotel and the delay? The night, the sinister aspects of the hotel? Preparing the audience for the plot?
6. The introduction of Miss Froy as a genial old lady, her connection with the sudden death of the musician? Her reality and the questions about her existence? Her name on the window and its inappropriate disappearance? As a character? Her running off to get the message to England? How plausible while she was on the screen?
7. The creation of a sinister atmosphere at the station and Iris's collapse, the sinister aspects of the train, the carriage, and the passengers and their look?
8. Audience response to Dr Hartz, the revelation then that he was the villain? The introduction of the nun and her high heels? The nun changing sides?
9. Iris and her relationship with the people in the carriage? The truth and nobody believe her? The later influence of the characters in the carriage especially the conjurer in the freight carriage?
10. The sub-plot of the Todhunters and their own melodramatic atmosphere? Their telling lies, the truth, and lies again? Todhunter's fear, the stupidity of his death?
11. How enjoyable were the characters Caldicott and Charters? Their chatter about the cricket? The supposedly typical English tourists? The irony of their worrying about the cricket, arrival back for play being washed out?
12. The atmosphere of suspense and the search of the train? The lies and the truth?
13. The growing atmosphere of trust in Dr Hartz? His poisoning them, and their trick response? The gradual growing pace of the suspense and the plot?
14. The final melodrama of finding Miss Froy, the nun, her help, the train on the side track, the siege, Miss Froy to escape?
15. The humour of the ending, Gilbert's inability to remember the tune, finding Miss Froy had delivered the message?
16. How enjoyable a piece of classic thriller escapism?
