Alfred-Hitchcock Movie Reviews

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VHS movie reviews for "Alfred-Hitchcock" sorted by average review score:
A Talk With Hitchcock
Released in VHS Tape by Image Entertainment (06 June, 2000)
MPAA Rating: NR (Not Rated)
Starring: Alfred Hitchcock and Alfred Hitchcock
Come back to the year 1964 for an interview with Hitch himself. This conversation initially appeared on the '60s CBC program Telescope, with director Fletcher Markle pinning down the genial horror maestro for some very interesting insights. Hitchcock discusses his early career path, beginning as an editor for silent-movie title cards and nearly stumbling into assistant director and director positions. Other topics include the difficulties of wrangling 28,000 birds for The Birds, the infamous shower scene from Psycho (78 separate camera shots in 45 seconds), and the closing scenes of Shadow of a Doubt (the director's personal favorite). More revealing, however, are Hitchcock's takes on the building blocks of film language and theory (Arbogast's death in Psycho is dissected by the director). He also discusses the impact of horror films on society and their influence on behavior; his remarks are still fresh and relevant today. Composer Bernard Herrmann is also interviewed and delves into his relationship with Hitch and the particular way that they cooperated in scoring his films. This should be of interest not only to Hitchcock fans and students, but to anyone who's a fan of horror and suspense genres in general. The auteur is captured in his '60s prime, in an unusually candid setting. --Jerry Renshaw
Average review score:

DVD Trouble
I am very sorry to report troubles with this DVD. The encoding is not up to par, causing serious jerkiness, and the interview stops dead in its tracks about 15 minutes into the film.

I have never had any problems with other DVDs, and am very dissapointed that this one was so bad. From what little I heard of the interview, it seemed to have been very good.

Great Insight
This resource is a treasure for anyone who is a fan of the cinema, especially, Hitchcock and his technique. A definite must-have for your collection.

Great for Hitchcock buffs
Got this dvd recently, did not experience any playback problems mentioned by another reviewer. There is some jerkiness, but I don't think it's a problem with the transfer, but rather because this is an interview on film that is decades old. The real point of this title is not sound/picture quality (which are fine, to me) but the content, and Hitch's anecdotes and discussions of his techniques are real gems for die-hard fans, especially those who haven't seen the master himself talking about his work.

Hitchcock 4-Pack
Released in VHS Tape by Front Row Video, Inc (08 April, 1992)
MPAA Rating: NR (Not Rated)
Starring: Alfred Hitchcock
Average review score:

Say what?
What's this a new brand of Beer? No information here.

Hitchcock 4-Pack
Four of Hitchcock's best at a great price! The Secret Agent, The 39 Steps, The Lady Vanishes, and The Man Who Knew Too Much (1934 version)

Alfred Hitchcock Collection
Released in VHS Tape by Laserlight Video (19 June, 1998)
MPAA Rating: NR (Not Rated)
Starring: Alfred Hitchcock Collection
Average review score:

Great for Hitch fans
This is a great set for a fan of Hitch but don't expect it to be the greatest set of his films. I do have one question--why did they have intros by Tony Curtis? As far as I know he has nothing to do with Hitch. Still a great set.

Champagne
Released in VHS Tape by Timeless Video, Inc (26 October, 1995)
MPAA Rating: NR (Not Rated)
Director: Alfred Hitchcock
Starring: Betty Balfour and Jean Bradin
Average review score:

A Pretty good movie
It wasnt bad nor good, it wasnt one of hitchcocks best but never the less It was some what enjoyable through out the movie although the ending left some questions un answered

Murder
Released in VHS Tape by Republic Studios (25 May, 1994)
MPAA Rating: NR (Not Rated)
Director: Alfred Hitchcock
Starring: Herbert Marshall and Norah Baring
This 1930 drama was an early field day for Alfred Hitchcock and his evolving ideas about the blurring of opposites: reality and illusion, guilt and innocence, observing and doing, men and women. A rare whodunit in the director's canon, the story finds a stage actress (Norah Baring) convicted of murdering a female friend. Herbert Marshall stars as a veteran theater actor and, coincidentally, member of the jury who has grave doubts about the verdict and decides to investigate the crime on his own. His efforts lead him through a world with which he is sufficiently familiar--that of backstage intrigues--and toward what some critics have charged is an unfortunate link between villainy and a gay stereotype. But that limited critique completely misses the playful overlapping of faulty perceptions invited by this movie, in which Hitchcock deliberately confuses us at times about whether the action we're seeing is real or occurring on a stage. Even when the distinction is obvious, thematic echoes bounce wildly between the two, such as an early scene in which policemen observing a play don't realize the solution to the real murder is weirdly foretold in what they're watching. The print of the film used in the DVD release is serviceable and probably comparable to an average 16mm classroom or museum presentation. The DVD also includes a Hitchcock filmography, trivia questions, a director biography, and scene access. --Tom Keogh
Average review score:

good film, terrible transfer
Unfortunately, unlike Laserlite's okay transfer of "Blackmail" and unexpectedly superb transfer of "Rich and Strange," this Hitchcock film gets the bottom-of-the-barrel treatment. The transfer is pretty hideous. However, to Laserlite's credit, every transfer of this film that I've ever seen (4 in all) has been pretty intolerable with terrible contrast, several missing frames and enough hissing and popping to hurt a construction worker's ears! But this DVD's no better or worse than, say, Madacy's horrific treatment of the film. Criterion desperately need to get hold of this film and restore it.

The movie's great, but I'm not going to dwell on the plot or the production, as it's hard to give a proper review of this film when I've never seen it in good condition. If you want to know what it's about, read Leonard Maltin's movie guide or one of the reviews below.

4 stars to Hitchcock for the great movie, 2 stars to Laserlite for trying and failing.

Weirdly captivating
Parts of this film have more in common with the works of Resnais than with any of the overwhelming bulk of Hitchcock's other films. At times achieving a bizarrely effected comic realism: stylistically, Murder is his most severely surrealistic work.

It is very weird, peculiarly paced, and at stages either 35 or 70 years ahead of its time. Here Hitchcock is wildly experimental. Amidst heated tete-a-tetes, the camera may rest on the listening face of a silent participant for some minutes on-end. The hosery scene in the first few minutes, the transvestitism, and the sick-in-bed sequence are all grotesquely hyper-realistic.

The backstage scene is incredible, and again very strange. There is a refreshing honesty about Murder. For all its slowness, Hitchcock seems precise in what he includes and excludes here.

Essential viewing for any fan of Hitchcock, Surrealism, film history, or art history more generally - and for that matter of Resnais, Welles, Truffaut, Jarman, Roeg, Hamlet, Friedkin, Bergman, von Trier, or Peter Jennings (e.g.). This movie will freak you out.

Platinum Does Justice To "Murder!"
This review refers to the Platinum Disc Corp DVD edition of "Murder".....

If you are looking for a decent transfer to DVD of one of Hitch's earliest works(1930) and don't want to pay for all the extras, this disc by Platinum is a good way to go. This 73 year old film does show it's age, there are some scratches, there's a very thin line down the center of the film(which is not distracting) and occasionally it jumps a bit, but other than that it is a perfectly clear picture and very viewable.The sound in Dolby Dig(mono) of this early "talkie" is good too, audible and distintive for the most part. There wasn't anything that took away from my viewing pleasure of this Hitch classic that we are lucky to be able to enjoy today. If I look that good at 73. I'll be a happy camper!

"Murder" is the story of one man's quest for justice. He was the last hold out on the jury of a murder trial(of a beautiful woman of course), and was convinced to vote guilty. He is an esteemed actor, but realizes that this case was real life, has second thoughts about the woman's guilt and plays detective to try and prove her innocence, and find the real killer.Can he make his case in time or will the death penalty be be invoked? It's a thrilling game of beat the clock!

The film stars Herbert Marshall and Norah Barring, and you will see even in this early stage of Hitch's illustrious career, his sense of style and his sense of humor mixed in with the mayhem.

Looking for Hitch: About an hour in, take a stroll with him past the scene of the crime.

Oh and a little bonus...there's a short quiz on the film, and a bio on Hitchcock included on the disc.

Have fun with this terrific edition to your Hitch collection and enjoy.....Laurie

Murder
Released in VHS Tape by Timeless Video, Inc (04 February, 1994)
MPAA Rating: NR (Not Rated)
Director: Alfred Hitchcock
Starring: Herbert Marshall and Norah Baring
This 1930 drama was an early field day for Alfred Hitchcock and his evolving ideas about the blurring of opposites: reality and illusion, guilt and innocence, observing and doing, men and women. A rare whodunit in the director's canon, the story finds a stage actress (Norah Baring) convicted of murdering a female friend. Herbert Marshall stars as a veteran theater actor and, coincidentally, member of the jury who has grave doubts about the verdict and decides to investigate the crime on his own. His efforts lead him through a world with which he is sufficiently familiar--that of backstage intrigues--and toward what some critics have charged is an unfortunate link between villainy and a gay stereotype. But that limited critique completely misses the playful overlapping of faulty perceptions invited by this movie, in which Hitchcock deliberately confuses us at times about whether the action we're seeing is real or occurring on a stage. Even when the distinction is obvious, thematic echoes bounce wildly between the two, such as an early scene in which policemen observing a play don't realize the solution to the real murder is weirdly foretold in what they're watching. The print of the film used in the DVD release is serviceable and probably comparable to an average 16mm classroom or museum presentation. The DVD also includes a Hitchcock filmography, trivia questions, a director biography, and scene access. --Tom Keogh
Average review score:

good film, terrible transfer
Unfortunately, unlike Laserlite's okay transfer of "Blackmail" and unexpectedly superb transfer of "Rich and Strange," this Hitchcock film gets the bottom-of-the-barrel treatment. The transfer is pretty hideous. However, to Laserlite's credit, every transfer of this film that I've ever seen (4 in all) has been pretty intolerable with terrible contrast, several missing frames and enough hissing and popping to hurt a construction worker's ears! But this DVD's no better or worse than, say, Madacy's horrific treatment of the film. Criterion desperately need to get hold of this film and restore it.

The movie's great, but I'm not going to dwell on the plot or the production, as it's hard to give a proper review of this film when I've never seen it in good condition. If you want to know what it's about, read Leonard Maltin's movie guide or one of the reviews below.

4 stars to Hitchcock for the great movie, 2 stars to Laserlite for trying and failing.

Weirdly captivating
Parts of this film have more in common with the works of Resnais than with any of the overwhelming bulk of Hitchcock's other films. At times achieving a bizarrely effected comic realism: stylistically, Murder is his most severely surrealistic work.

It is very weird, peculiarly paced, and at stages either 35 or 70 years ahead of its time. Here Hitchcock is wildly experimental. Amidst heated tete-a-tetes, the camera may rest on the listening face of a silent participant for some minutes on-end. The hosery scene in the first few minutes, the transvestitism, and the sick-in-bed sequence are all grotesquely hyper-realistic.

The backstage scene is incredible, and again very strange. There is a refreshing honesty about Murder. For all its slowness, Hitchcock seems precise in what he includes and excludes here.

Essential viewing for any fan of Hitchcock, Surrealism, film history, or art history more generally - and for that matter of Resnais, Welles, Truffaut, Jarman, Roeg, Hamlet, Friedkin, Bergman, von Trier, or Peter Jennings (e.g.). This movie will freak you out.

Platinum Does Justice To "Murder!"
This review refers to the Platinum Disc Corp DVD edition of "Murder".....

If you are looking for a decent transfer to DVD of one of Hitch's earliest works(1930) and don't want to pay for all the extras, this disc by Platinum is a good way to go. This 73 year old film does show it's age, there are some scratches, there's a very thin line down the center of the film(which is not distracting) and occasionally it jumps a bit, but other than that it is a perfectly clear picture and very viewable.The sound in Dolby Dig(mono) of this early "talkie" is good too, audible and distintive for the most part. There wasn't anything that took away from my viewing pleasure of this Hitch classic that we are lucky to be able to enjoy today. If I look that good at 73. I'll be a happy camper!

"Murder" is the story of one man's quest for justice. He was the last hold out on the jury of a murder trial(of a beautiful woman of course), and was convinced to vote guilty. He is an esteemed actor, but realizes that this case was real life, has second thoughts about the woman's guilt and plays detective to try and prove her innocence, and find the real killer.Can he make his case in time or will the death penalty be be invoked? It's a thrilling game of beat the clock!

The film stars Herbert Marshall and Norah Barring, and you will see even in this early stage of Hitch's illustrious career, his sense of style and his sense of humor mixed in with the mayhem.

Looking for Hitch: About an hour in, take a stroll with him past the scene of the crime.

Oh and a little bonus...there's a short quiz on the film, and a bio on Hitchcock included on the disc.

Have fun with this terrific edition to your Hitch collection and enjoy.....Laurie

Murder! (1930)
Released in VHS Tape by Jef Films Int. (14 May, 1998)
MPAA Rating: NR (Not Rated)
Director: Alfred Hitchcock
Starring: Herbert Marshall and Norah Baring
This 1930 drama was an early field day for Alfred Hitchcock and his evolving ideas about the blurring of opposites: reality and illusion, guilt and innocence, observing and doing, men and women. A rare whodunit in the director's canon, the story finds a stage actress (Norah Baring) convicted of murdering a female friend. Herbert Marshall stars as a veteran theater actor and, coincidentally, member of the jury who has grave doubts about the verdict and decides to investigate the crime on his own. His efforts lead him through a world with which he is sufficiently familiar--that of backstage intrigues--and toward what some critics have charged is an unfortunate link between villainy and a gay stereotype. But that limited critique completely misses the playful overlapping of faulty perceptions invited by this movie, in which Hitchcock deliberately confuses us at times about whether the action we're seeing is real or occurring on a stage. Even when the distinction is obvious, thematic echoes bounce wildly between the two, such as an early scene in which policemen observing a play don't realize the solution to the real murder is weirdly foretold in what they're watching. The print of the film used in the DVD release is serviceable and probably comparable to an average 16mm classroom or museum presentation. The DVD also includes a Hitchcock filmography, trivia questions, a director biography, and scene access. --Tom Keogh
Average review score:

good film, terrible transfer
Unfortunately, unlike Laserlite's okay transfer of "Blackmail" and unexpectedly superb transfer of "Rich and Strange," this Hitchcock film gets the bottom-of-the-barrel treatment. The transfer is pretty hideous. However, to Laserlite's credit, every transfer of this film that I've ever seen (4 in all) has been pretty intolerable with terrible contrast, several missing frames and enough hissing and popping to hurt a construction worker's ears! But this DVD's no better or worse than, say, Madacy's horrific treatment of the film. Criterion desperately need to get hold of this film and restore it.

The movie's great, but I'm not going to dwell on the plot or the production, as it's hard to give a proper review of this film when I've never seen it in good condition. If you want to know what it's about, read Leonard Maltin's movie guide or one of the reviews below.

4 stars to Hitchcock for the great movie, 2 stars to Laserlite for trying and failing.

Weirdly captivating
Parts of this film have more in common with the works of Resnais than with any of the overwhelming bulk of Hitchcock's other films. At times achieving a bizarrely effected comic realism: stylistically, Murder is his most severely surrealistic work.

It is very weird, peculiarly paced, and at stages either 35 or 70 years ahead of its time. Here Hitchcock is wildly experimental. Amidst heated tete-a-tetes, the camera may rest on the listening face of a silent participant for some minutes on-end. The hosery scene in the first few minutes, the transvestitism, and the sick-in-bed sequence are all grotesquely hyper-realistic.

The backstage scene is incredible, and again very strange. There is a refreshing honesty about Murder. For all its slowness, Hitchcock seems precise in what he includes and excludes here.

Essential viewing for any fan of Hitchcock, Surrealism, film history, or art history more generally - and for that matter of Resnais, Welles, Truffaut, Jarman, Roeg, Hamlet, Friedkin, Bergman, von Trier, or Peter Jennings (e.g.). This movie will freak you out.

Platinum Does Justice To "Murder!"
This review refers to the Platinum Disc Corp DVD edition of "Murder".....

If you are looking for a decent transfer to DVD of one of Hitch's earliest works(1930) and don't want to pay for all the extras, this disc by Platinum is a good way to go. This 73 year old film does show it's age, there are some scratches, there's a very thin line down the center of the film(which is not distracting) and occasionally it jumps a bit, but other than that it is a perfectly clear picture and very viewable.The sound in Dolby Dig(mono) of this early "talkie" is good too, audible and distintive for the most part. There wasn't anything that took away from my viewing pleasure of this Hitch classic that we are lucky to be able to enjoy today. If I look that good at 73. I'll be a happy camper!

"Murder" is the story of one man's quest for justice. He was the last hold out on the jury of a murder trial(of a beautiful woman of course), and was convinced to vote guilty. He is an esteemed actor, but realizes that this case was real life, has second thoughts about the woman's guilt and plays detective to try and prove her innocence, and find the real killer.Can he make his case in time or will the death penalty be be invoked? It's a thrilling game of beat the clock!

The film stars Herbert Marshall and Norah Barring, and you will see even in this early stage of Hitch's illustrious career, his sense of style and his sense of humor mixed in with the mayhem.

Looking for Hitch: About an hour in, take a stroll with him past the scene of the crime.

Oh and a little bonus...there's a short quiz on the film, and a bio on Hitchcock included on the disc.

Have fun with this terrific edition to your Hitch collection and enjoy.....Laurie

Alfred Hitchcock Box Set
Released in VHS Tape by Diamond Entertainment (01 November, 1999)
MPAA Rating: NR (Not Rated)
Starring: Alfred Hitchcock
Average review score:

Your Guess Is As Good As Mine???
This is the second collection listed that does not include the films found in the set... how about doing some listing... hellloooo!!!

Where's the Beef?
It would be most helpful if someone put what was in this box set.

Here are the four titles in the set:
Paradine Case, Rebecca, Spellbound, Notorious.

Number 17
Released in VHS Tape by Republic Studios (25 May, 1994)
MPAA Rating: NR (Not Rated)
Director: Alfred Hitchcock
Starring: Leon M. Lion, Anne Grey, and John Stuart
The technical challenges of this 1932 "old dark house" mystery are largely what appealed to Alfred Hitchcock, who uses a staircase quite inventively to create a series of emotional and dramatic thresholds from which to tell a story (adapted from a play) about a policeman, a hobo, and a gang of jewel thieves. Besides the technical temptations of filming in the house, Hitch turns (as he often did in the early days) to models to create an exciting chase-climax between a train and a bus. A very minor work, indeed, but revealing of the director's early interest in transcending dull material with exercises in what he termed "pure cinema." The print of the film used in the DVD release is serviceable and probably comparable to an average 16mm classroom or museum presentation. The DVD also includes a Hitchcock filmography, trivia questions, a director biography, and scene access. --Tom Keogh
Average review score:

Well worth seeing
I liked this film. While there are some weakness, particularly the final chase scene which was obviously a train set, overall the movie is quite good.
The story focuses around a stolen necklace, and a series of colourful characters, including a cockney who was a scene stealer, a deaf mute woman, a rather nosy lead actor and a number of "bad guys". Well worth watching, particularly if you keep in mind that this film is over 70 years old, and still holds its own

Hitch called it a 'disaster': he was wrong.
'Number Seventeen' offers early proof of Hitchcock's mastery of, and thriving in, confined spaces. The first two-thirds of the film takes place in an abandoned townhouse, whose physical and atmospheric character - its vast emptiness, with corpses and killers lurking in the shadows; its three-storey staircase on which the events take place, giant silhouettes flashing on the wall; its maze-like landings and rooms concealing unexpected surprises; its rotting woodwork, threatening to collapse the whole house; its forbiddingly geometric exteriors - has much more presence than the atrocious actors, prattling on with some nonsense about stolen diamonds in a plot that was obviously based on a stilted, but popular play.

The film begins with one of those bravura silent Expressionist sequences Hitchcock was so fond of in his early films. On a blustery night, our first image is of a stray hat blowing into the screen, eventually followed by its owner, the film's enigmatic hero. He stops at the grounds of a large house, with an ancient 'For Sale' sign; curious, he enters. The half-comic, half-terrifying Grand Guignol that follows, intercutting shadows, candles, mysterious strangers, doors opening and shutting, slow creeps up staircases, is extraordinary. Even furing the interminable dialogue scenes that follow, Hitch overcomes boredome with brusque but witty editing and compositions. There is one more terrific set-piece indoors, when the hero and the nominal heroine are tied by villains to a landing banister at the top of the house, which suddenly collapses.

You can tell Hitch is itching to get out for some fresh air, though, and jumps at the chance to follow the crooks on their getaway train. Here begins one of the greatest chase sequences in the cinema. The hero is pushed off the train, commandeers a coach full of passengers and at lightening speed, chases the train across country. Due to some bumbling and accidents.., the train has lost its driver and is hurtling towards destruction. The crosscutting of the two interrelated movements, and the mix of cinematic formalism and 'human-interest' stories, is breathtaking. And, brilliantly, it doesn't end there...

stunning chiller
A stunning chiller, Hitchcock's NUMBER SEVENTEEN is a suspenseful thriller filled with great performances and great scenes.

A dead body in a deserted house, found with handcuffs and a gun in his pocket, suddenly disappears. Weird people meet in a deserted haunted house at midnight. Gunshots in the dark. Ghostly white clutching hands. A strange cockney. A deaf and dumb woman who speaks. A diamond necklace found in a water-closet. All these strange events happen in the timeframe of a few short hours, without any reason or warning.

Hitchcock draws on all the tricks of the trade in this beautifully-constructed thriller, featuring Leon M. Lion, Anne Grey, Ann Casson, John Stuart, Donald Calthrop, Barry Jones, Garry Marsh, Henry Caine and Herbert Langley.

Number 17 (1932)
Released in VHS Tape by Jef Films Int. (14 May, 1998)
MPAA Rating: NR (Not Rated)
Director: Alfred Hitchcock
Starring: Leon M. Lion, Anne Grey, and John Stuart
The technical challenges of this 1932 "old dark house" mystery are largely what appealed to Alfred Hitchcock, who uses a staircase quite inventively to create a series of emotional and dramatic thresholds from which to tell a story (adapted from a play) about a policeman, a hobo, and a gang of jewel thieves. Besides the technical temptations of filming in the house, Hitch turns (as he often did in the early days) to models to create an exciting chase-climax between a train and a bus. A very minor work, indeed, but revealing of the director's early interest in transcending dull material with exercises in what he termed "pure cinema." The print of the film used in the DVD release is serviceable and probably comparable to an average 16mm classroom or museum presentation. The DVD also includes a Hitchcock filmography, trivia questions, a director biography, and scene access. --Tom Keogh
Average review score:

Well worth seeing
I liked this film. While there are some weakness, particularly the final chase scene which was obviously a train set, overall the movie is quite good.
The story focuses around a stolen necklace, and a series of colourful characters, including a cockney who was a scene stealer, a deaf mute woman, a rather nosy lead actor and a number of "bad guys". Well worth watching, particularly if you keep in mind that this film is over 70 years old, and still holds its own

Hitch called it a 'disaster': he was wrong.
'Number Seventeen' offers early proof of Hitchcock's mastery of, and thriving in, confined spaces. The first two-thirds of the film takes place in an abandoned townhouse, whose physical and atmospheric character - its vast emptiness, with corpses and killers lurking in the shadows; its three-storey staircase on which the events take place, giant silhouettes flashing on the wall; its maze-like landings and rooms concealing unexpected surprises; its rotting woodwork, threatening to collapse the whole house; its forbiddingly geometric exteriors - has much more presence than the atrocious actors, prattling on with some nonsense about stolen diamonds in a plot that was obviously based on a stilted, but popular play.

The film begins with one of those bravura silent Expressionist sequences Hitchcock was so fond of in his early films. On a blustery night, our first image is of a stray hat blowing into the screen, eventually followed by its owner, the film's enigmatic hero. He stops at the grounds of a large house, with an ancient 'For Sale' sign; curious, he enters. The half-comic, half-terrifying Grand Guignol that follows, intercutting shadows, candles, mysterious strangers, doors opening and shutting, slow creeps up staircases, is extraordinary. Even furing the interminable dialogue scenes that follow, Hitch overcomes boredome with brusque but witty editing and compositions. There is one more terrific set-piece indoors, when the hero and the nominal heroine are tied by villains to a landing banister at the top of the house, which suddenly collapses.

You can tell Hitch is itching to get out for some fresh air, though, and jumps at the chance to follow the crooks on their getaway train. Here begins one of the greatest chase sequences in the cinema. The hero is pushed off the train, commandeers a coach full of passengers and at lightening speed, chases the train across country. Due to some bumbling and accidents.., the train has lost its driver and is hurtling towards destruction. The crosscutting of the two interrelated movements, and the mix of cinematic formalism and 'human-interest' stories, is breathtaking. And, brilliantly, it doesn't end there...

stunning chiller
A stunning chiller, Hitchcock's NUMBER SEVENTEEN is a suspenseful thriller filled with great performances and great scenes.

A dead body in a deserted house, found with handcuffs and a gun in his pocket, suddenly disappears. Weird people meet in a deserted haunted house at midnight. Gunshots in the dark. Ghostly white clutching hands. A strange cockney. A deaf and dumb woman who speaks. A diamond necklace found in a water-closet. All these strange events happen in the timeframe of a few short hours, without any reason or warning.

Hitchcock draws on all the tricks of the trade in this beautifully-constructed thriller, featuring Leon M. Lion, Anne Grey, Ann Casson, John Stuart, Donald Calthrop, Barry Jones, Garry Marsh, Henry Caine and Herbert Langley.

Related Subjects: Alec-Guinness
More Pages: Alfred-Hitchcock Page 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17