Alfred-Hitchcock Movie Reviews

Rear Window in my mind is a close second, but is defintely second.

Shadow of a Doubt has perfect casting (except for the detective), impeccable acting, and the best sceenplay and dialogue of any Hitchock film. Thorton Wilder, who wrote the classic play, Our Town, penned most of Shadow of a Doubt before he went off to war, and it really shows.

In this film a handsome, sophisticated uncle comes to stay with his sister and her ordinary middle American family. He is the apple of her eye, and is especially beloved by his neice.

This film is essentially about the relationship between Teresa Wright, who plays Charlie, and Joseph Cotton, who plays Uncle Charlie. Neice Charlie thinks of herself as her Uncle Charlie's psychic and spiritual twin, and is head over heels for her uncle until she begins to learn a few things.

To say more would ruin the film, but I can say that nothing, and I mean nothing, in this film is there for its own sake. Every shot, every line, every detail, contributes something to further character and plot on more than one level. It is exquisite, and after seeing it half a dozen times I still see new things.

If you like Hitchcock and haven't seen this film you simply must see it.

Hitchock once called this variant of the wolf-among-the-lambs parable his best American film; though he later recanted, it's hard not to think his original assessment was right. Although this film has all the cleverness and adroitness we associate with his other great films (in his repeated use of twinning motifs, and in such virtuoso sequences as young Charlie's rush to the library to discover the truth about her uncle--and the famous crane shot when she finds it), it's rare in that it has a truly superb script (credited to Thornton Wilder) that allows Hitchock's excellent cast to play real and multilayered human beings. Although there are many memorable performances in Hitchcock films, he never had another film in which every single member of the cast seems to be living up to his or her highest potential: even the two local Santa Rosa children he cast as the two youngest Newtons, Edna May Wonacott (as the surprisingly complex Anne) and Charles Bates (as little Roger), linger long in the memory. Cotton has the performance of his career as the evil and manipulative Uncle Charlie: he's so effective that initially Teresa Wright, as the younger Charlie (the only one of the Newtons to fully understand the truth about Cotton), seems greatly outmatched. But as the film continues Wright brings such steely determination to her role that you understand how this sweet young woman can successfully be an obstacle to Uncle Charlie's schemes. She's impossible to forget (especially in the way she walks down the street--shoulders hunched, hands clenched--when she runs away from the dinner table).

The film's standout performance, however, is the stage actress Patricia Collinge in the great linchpin role of the mother. Collinge's Emma Newton initially seems a fluttering, silly, ordinary woman, but Collinge invests the role with so much depth of feeling that when Uncle Charlie cruelly warns young Charlie what the revelation of his identity will do to his sister, you know why the niece will not dare break her mother's heart (even at the risk of her own life). Collinge's Emma is what the film's deep and abiding humanism (so rare for a Hitchcock film!) is staked upon--she represents both what Uncle Charlie wants to destroy and what young Charlie is so desperate to save. And when Collinge makes her great, sad "forgetting you're you" speech near the film's end--where, for in the only time in her life, this sweet, self-martyring woman gives voice to what she may have given up to raise her family--, you fully understand why the stakes are so high. It's a classic performance--perhaps the single finest and richest in Hitchcock's entire corpus.

Rear Window in my mind is a close second, but is defintely second.

Shadow of a Doubt has perfect casting (except for the detective), impeccable acting, and the best sceenplay and dialogue of any Hitchock film. Thorton Wilder, who wrote the classic play, Our Town, penned most of Shadow of a Doubt before he went off to war, and it really shows.

In this film a handsome, sophisticated uncle comes to stay with his sister and her ordinary middle American family. He is the apple of her eye, and is especially beloved by his neice.

This film is essentially about the relationship between Teresa Wright, who plays Charlie, and Joseph Cotton, who plays Uncle Charlie. Neice Charlie thinks of herself as her Uncle Charlie's psychic and spiritual twin, and is head over heels for her uncle until she begins to learn a few things.

To say more would ruin the film, but I can say that nothing, and I mean nothing, in this film is there for its own sake. Every shot, every line, every detail, contributes something to further character and plot on more than one level. It is exquisite, and after seeing it half a dozen times I still see new things.

If you like Hitchcock and haven't seen this film you simply must see it.

Hitchock once called this variant of the wolf-among-the-lambs parable his best American film; though he later recanted, it's hard not to think his original assessment was right. Although this film has all the cleverness and adroitness we associate with his other great films (in his repeated use of twinning motifs, and in such virtuoso sequences as young Charlie's rush to the library to discover the truth about her uncle--and the famous crane shot when she finds it), it's rare in that it has a truly superb script (credited to Thornton Wilder) that allows Hitchock's excellent cast to play real and multilayered human beings. Although there are many memorable performances in Hitchcock films, he never had another film in which every single member of the cast seems to be living up to his or her highest potential: even the two local Santa Rosa children he cast as the two youngest Newtons, Edna May Wonacott (as the surprisingly complex Anne) and Charles Bates (as little Roger), linger long in the memory. Cotton has the performance of his career as the evil and manipulative Uncle Charlie: he's so effective that initially Teresa Wright, as the younger Charlie (the only one of the Newtons to fully understand the truth about Cotton), seems greatly outmatched. But as the film continues Wright brings such steely determination to her role that you understand how this sweet young woman can successfully be an obstacle to Uncle Charlie's schemes. She's impossible to forget (especially in the way she walks down the street--shoulders hunched, hands clenched--when she runs away from the dinner table).

The film's standout performance, however, is the stage actress Patricia Collinge in the great linchpin role of the mother. Collinge's Emma Newton initially seems a fluttering, silly, ordinary woman, but Collinge invests the role with so much depth of feeling that when Uncle Charlie cruelly warns young Charlie what the revelation of his identity will do to his sister, you know why the niece will not dare break her mother's heart (even at the risk of her own life). Collinge's Emma is what the film's deep and abiding humanism (so rare for a Hitchcock film!) is staked upon--she represents both what Uncle Charlie wants to destroy and what young Charlie is so desperate to save. And when Collinge makes her great, sad "forgetting you're you" speech near the film's end--where, for in the only time in her life, this sweet, self-martyring woman gives voice to what she may have given up to raise her family--, you fully understand why the stakes are so high. It's a classic performance--perhaps the single finest and richest in Hitchcock's entire corpus.

Although the last part of the film still is entertaining, it seems somewhat anti-climactic after the scene in Albert Hall, and the film ends rather abruptly with a scene played for laughs that needs more breathing space to be effective. The plot seems to hang together well except for one glaring exception: how did the three criminals manage to take over the church in London and have a thriving congregation? Also, and this is a minor point, the first scene with "Que Sera Sera" seems rather stagey, as if part of Mary Poppins or the Sound of Music somehow got mistakenly inserted into this film. Finally, the colors are rather garish. Let's hope that a remastering will take place soon.

All carping aside, this is a gripping film. Doris Day offers a heartfelt, emotional performance and Jimmy Stewart is wonderful as always.

This was to be the second of 5 brilliant films made from 1954 - 1960. (the others are; Rear Window (1954), Vertigo (1958), North by Northwest (1959) & Psycho (1960)). This was Hitchcock at his best, in fact these last 4 were voted to AFI's (American Film Institute's) top 100 films in the last 100 years (1998). So you can see why "The Man Who Knew Too Much" was overlooked. A definite sleeper classic!!!

Summary: James Stewart, wife Doris Day and son are on a vacation in Morocco. They are accidently swept up in an assassination plot to occur in London. The assassin group kidnaps their son as insurance of their silence and hold him hostage. Doris Days rare dramatic role is outstanding and her singing the Oscar winning song, ("Que Sera, Sera") high light this brilliant spy thriller. Jimmy Stewarts natural acting ability (Hitchcocks favorite male actor) pulls off being Doris Days husband.

The Anamorphic Widescreen Color presentation is excellent. The "Making of - with Patricia Hitchocks (Hitch's daughter) comments is very interesting & informative.

You can, at times, see shades of the greatness to come in Hitchcock's direction, but he hadn't reached anywhere near his peak, at this point. I found the acting to be stilted, wooden, and caricaturish; the pacing alternately inappropriately frantic and unforgivably plodding.

Judging from the reviews that specify the version, the Criterion Collection edition is quite a good transfer. Unfortunately, the Laserlight Video version is a waste of plastic; dreadful audio, grainy, alternately washed out and too dark, splices, skips, etc. It's the version currently selling for [$$], and isn't worth even that paltry sum.

Students of Hitchcock, buy the Criterion Collection edition, if you must own this film. Fans of Hitchcock, rent the Criterion edition, if you wish to satisfy your curiousity. Everyone, avoid the Laserlight Video edition, at all costs!

The movie introduces many classic Hitchcock staples. Fans will see many similarities to later works. Most notable is the classic Hitchcock theme of the wrongfully accused hero.

Hitchcock, as always, demonstrates a mastery of the visual medium; the film is rich with story telling enabled through skillful use of the camera, rather using dialog as a crutch.

The DVD includes a so-so documentary that surveys his early work in British film. A running commentary is also available, that highlights many fascinating elements. Overall, the DVD translation fulfills what I would expect from Criterion--top notch.

STEPS is a beautifully restored and artfully done black and white film from the 1930s filled with excellent shots dependent upon back-lighting, side-lighting, and underlighting. In addition, many of the techniques Hitchcock perfected are still being used in modern suspense thrillers - running figures sillouetted against the sky, a screaming woman whose voice becomes the shrill whistle of a departing train, boat, etc., leading characters handcuffed together, the chase onto and through a moving train. The autogyro the police use to chase the leading man was a forerunner of the helicopter. The autogyro took off on a runway like an airplane but was kept aloft by a rotary propeller like a helicopter and was in it's infancy in 1935. Surely this was one of the first times a conveyience of this sort was used in a chase scene. The use of the autogyro (helicopter) and other aspects of STEPS are found in many later films including Hitchcock's own NORTH BY NORTHWEST.

The Criterion version contains the usual overvoice commentary; a documentary about Hitchcock's "British" period which includes the making of THE LADY VANISHES, the first MAN WHO KNEW TO MUCH, STEPS, and other favorites; plus a LUX Theater presentation based on the 1915 book THE THIRTY-NINE STEPS and starring Robert Montgomery.

If you're interested in film history or Hitchcock, or just want to watch an entertaining story you'll enjoy this film. Prior to viewing STEPS, I watched Woody Allen's PLAY IT AGAIN SAM (a send up of CASABLANCA), THE MAN WHO WASN'T THERE--the Joel and Ethan Coen film "noir" currently playing in movie theaters, and the American Movie Classics piece on film noir. I found the connections between film noir and more recent films fascinating.

You can, at times, see shades of the greatness to come in Hitchcock's direction, but he hadn't reached anywhere near his peak, at this point. I found the acting to be stilted, wooden, and caricaturish; the pacing alternately inappropriately frantic and unforgivably plodding.

Judging from the reviews that specify the version, the Criterion Collection edition is quite a good transfer. Unfortunately, the Laserlight Video version is a waste of plastic; dreadful audio, grainy, alternately washed out and too dark, splices, skips, etc. It's the version currently selling for [$$], and isn't worth even that paltry sum.

Students of Hitchcock, buy the Criterion Collection edition, if you must own this film. Fans of Hitchcock, rent the Criterion edition, if you wish to satisfy your curiousity. Everyone, avoid the Laserlight Video edition, at all costs!

The movie introduces many classic Hitchcock staples. Fans will see many similarities to later works. Most notable is the classic Hitchcock theme of the wrongfully accused hero.

Hitchcock, as always, demonstrates a mastery of the visual medium; the film is rich with story telling enabled through skillful use of the camera, rather using dialog as a crutch.

The DVD includes a so-so documentary that surveys his early work in British film. A running commentary is also available, that highlights many fascinating elements. Overall, the DVD translation fulfills what I would expect from Criterion--top notch.

STEPS is a beautifully restored and artfully done black and white film from the 1930s filled with excellent shots dependent upon back-lighting, side-lighting, and underlighting. In addition, many of the techniques Hitchcock perfected are still being used in modern suspense thrillers - running figures sillouetted against the sky, a screaming woman whose voice becomes the shrill whistle of a departing train, boat, etc., leading characters handcuffed together, the chase onto and through a moving train. The autogyro the police use to chase the leading man was a forerunner of the helicopter. The autogyro took off on a runway like an airplane but was kept aloft by a rotary propeller like a helicopter and was in it's infancy in 1935. Surely this was one of the first times a conveyience of this sort was used in a chase scene. The use of the autogyro (helicopter) and other aspects of STEPS are found in many later films including Hitchcock's own NORTH BY NORTHWEST.

The Criterion version contains the usual overvoice commentary; a documentary about Hitchcock's "British" period which includes the making of THE LADY VANISHES, the first MAN WHO KNEW TO MUCH, STEPS, and other favorites; plus a LUX Theater presentation based on the 1915 book THE THIRTY-NINE STEPS and starring Robert Montgomery.

If you're interested in film history or Hitchcock, or just want to watch an entertaining story you'll enjoy this film. Prior to viewing STEPS, I watched Woody Allen's PLAY IT AGAIN SAM (a send up of CASABLANCA), THE MAN WHO WASN'T THERE--the Joel and Ethan Coen film "noir" currently playing in movie theaters, and the American Movie Classics piece on film noir. I found the connections between film noir and more recent films fascinating.

You can, at times, see shades of the greatness to come in Hitchcock's direction, but he hadn't reached anywhere near his peak, at this point. I found the acting to be stilted, wooden, and caricaturish; the pacing alternately inappropriately frantic and unforgivably plodding.

Judging from the reviews that specify the version, the Criterion Collection edition is quite a good transfer. Unfortunately, the Laserlight Video version is a waste of plastic; dreadful audio, grainy, alternately washed out and too dark, splices, skips, etc. It's the version currently selling for [$$], and isn't worth even that paltry sum.

Students of Hitchcock, buy the Criterion Collection edition, if you must own this film. Fans of Hitchcock, rent the Criterion edition, if you wish to satisfy your curiousity. Everyone, avoid the Laserlight Video edition, at all costs!

The movie introduces many classic Hitchcock staples. Fans will see many similarities to later works. Most notable is the classic Hitchcock theme of the wrongfully accused hero.

Hitchcock, as always, demonstrates a mastery of the visual medium; the film is rich with story telling enabled through skillful use of the camera, rather using dialog as a crutch.

The DVD includes a so-so documentary that surveys his early work in British film. A running commentary is also available, that highlights many fascinating elements. Overall, the DVD translation fulfills what I would expect from Criterion--top notch.

STEPS is a beautifully restored and artfully done black and white film from the 1930s filled with excellent shots dependent upon back-lighting, side-lighting, and underlighting. In addition, many of the techniques Hitchcock perfected are still being used in modern suspense thrillers - running figures sillouetted against the sky, a screaming woman whose voice becomes the shrill whistle of a departing train, boat, etc., leading characters handcuffed together, the chase onto and through a moving train. The autogyro the police use to chase the leading man was a forerunner of the helicopter. The autogyro took off on a runway like an airplane but was kept aloft by a rotary propeller like a helicopter and was in it's infancy in 1935. Surely this was one of the first times a conveyience of this sort was used in a chase scene. The use of the autogyro (helicopter) and other aspects of STEPS are found in many later films including Hitchcock's own NORTH BY NORTHWEST.

The Criterion version contains the usual overvoice commentary; a documentary about Hitchcock's "British" period which includes the making of THE LADY VANISHES, the first MAN WHO KNEW TO MUCH, STEPS, and other favorites; plus a LUX Theater presentation based on the 1915 book THE THIRTY-NINE STEPS and starring Robert Montgomery.

If you're interested in film history or Hitchcock, or just want to watch an entertaining story you'll enjoy this film. Prior to viewing STEPS, I watched Woody Allen's PLAY IT AGAIN SAM (a send up of CASABLANCA), THE MAN WHO WASN'T THERE--the Joel and Ethan Coen film "noir" currently playing in movie theaters, and the American Movie Classics piece on film noir. I found the connections between film noir and more recent films fascinating.

You can, at times, see shades of the greatness to come in Hitchcock's direction, but he hadn't reached anywhere near his peak, at this point. I found the acting to be stilted, wooden, and caricaturish; the pacing alternately inappropriately frantic and unforgivably plodding.

Judging from the reviews that specify the version, the Criterion Collection edition is quite a good transfer. Unfortunately, the Laserlight Video version is a waste of plastic; dreadful audio, grainy, alternately washed out and too dark, splices, skips, etc. It's the version currently selling for [$$], and isn't worth even that paltry sum.

Students of Hitchcock, buy the Criterion Collection edition, if you must own this film. Fans of Hitchcock, rent the Criterion edition, if you wish to satisfy your curiousity. Everyone, avoid the Laserlight Video edition, at all costs!

The movie introduces many classic Hitchcock staples. Fans will see many similarities to later works. Most notable is the classic Hitchcock theme of the wrongfully accused hero.

Hitchcock, as always, demonstrates a mastery of the visual medium; the film is rich with story telling enabled through skillful use of the camera, rather using dialog as a crutch.

The DVD includes a so-so documentary that surveys his early work in British film. A running commentary is also available, that highlights many fascinating elements. Overall, the DVD translation fulfills what I would expect from Criterion--top notch.

STEPS is a beautifully restored and artfully done black and white film from the 1930s filled with excellent shots dependent upon back-lighting, side-lighting, and underlighting. In addition, many of the techniques Hitchcock perfected are still being used in modern suspense thrillers - running figures sillouetted against the sky, a screaming woman whose voice becomes the shrill whistle of a departing train, boat, etc., leading characters handcuffed together, the chase onto and through a moving train. The autogyro the police use to chase the leading man was a forerunner of the helicopter. The autogyro took off on a runway like an airplane but was kept aloft by a rotary propeller like a helicopter and was in it's infancy in 1935. Surely this was one of the first times a conveyience of this sort was used in a chase scene. The use of the autogyro (helicopter) and other aspects of STEPS are found in many later films including Hitchcock's own NORTH BY NORTHWEST.

The Criterion version contains the usual overvoice commentary; a documentary about Hitchcock's "British" period which includes the making of THE LADY VANISHES, the first MAN WHO KNEW TO MUCH, STEPS, and other favorites; plus a LUX Theater presentation based on the 1915 book THE THIRTY-NINE STEPS and starring Robert Montgomery.

If you're interested in film history or Hitchcock, or just want to watch an entertaining story you'll enjoy this film. Prior to viewing STEPS, I watched Woody Allen's PLAY IT AGAIN SAM (a send up of CASABLANCA), THE MAN WHO WASN'T THERE--the Joel and Ethan Coen film "noir" currently playing in movie theaters, and the American Movie Classics piece on film noir. I found the connections between film noir and more recent films fascinating.

That said, I did want to find a Hitchcock movie or two to complete my DVD collection, and this, along with Rebecca, are both on my list. The thing that most struck me about this film was its obvious influence on the recent blockbuster The Fugitive. The scene in Scotland where Robert Donat walks with a parade to allude the police was shamelessly lifted 100% by The Fugitive. The scenes with the river and waterfall were also extremely reminiscent of Harrison Ford's dam jump scene from that film. Also, I thought the interaction between Donat and Madeleine Carroll, although not as completely developed, was as delightful as Gable and Colbert in It Happened One Night. The scene where Carroll takes off her stockings whilst handcuffed to Donat was particularly notable in this regard (provocative stuff for 1935, and still fun to watch). Finally, I felt that the historical background of the film, regarding the impending conflict between Britain and Germany (both implied in the plot and later played out in real life) gave it just a nice bit of significance value.

The 39 Steps certainly lacks the more developed and aerodynamic plot turns of Hitchcock's later work, but in my opinion, it was more fun.

The Criterion DVD has plenty of extras which may be of some value to Hitchcock junkies. The image quality has not received the Jeanne D'Arc treatment, but its good enough. The only thing I would have liked to have seen were some Spanish subtitles for when I watch movies with my latino friends.

The Criterion Collection transfer is a little grainy, and the intensity is a little inconsistent. Criterion's transfer of Hitchcock's "Rebecca" is far more flawless. Nevertheless, it is comparable to other transfers they have done of movies from that period (i.e., a little less grainy than "Trouble in Paradise"). Overall, an excellent purchase, and one I would recommend for anyone who liked "North by Northwest" or who is interested in seeing how Hitchcock developed as a filmmaker.

You can, at times, see shades of the greatness to come in Hitchcock's direction, but he hadn't reached anywhere near his peak, at this point. I found the acting to be stilted, wooden, and caricaturish; the pacing alternately inappropriately frantic and unforgivably plodding.

Judging from the reviews that specify the version, the Criterion Collection edition is quite a good transfer. Unfortunately, the Laserlight Video version is a waste of plastic; dreadful audio, grainy, alternately washed out and too dark, splices, skips, etc. It's the version currently selling for [$$], and isn't worth even that paltry sum.

Students of Hitchcock, buy the Criterion Collection edition, if you must own this film. Fans of Hitchcock, rent the Criterion edition, if you wish to satisfy your curiousity. Everyone, avoid the Laserlight Video edition, at all costs!

The movie introduces many classic Hitchcock staples. Fans will see many similarities to later works. Most notable is the classic Hitchcock theme of the wrongfully accused hero.

Hitchcock, as always, demonstrates a mastery of the visual medium; the film is rich with story telling enabled through skillful use of the camera, rather using dialog as a crutch.

The DVD includes a so-so documentary that surveys his early work in British film. A running commentary is also available, that highlights many fascinating elements. Overall, the DVD translation fulfills what I would expect from Criterion--top notch.

STEPS is a beautifully restored and artfully done black and white film from the 1930s filled with excellent shots dependent upon back-lighting, side-lighting, and underlighting. In addition, many of the techniques Hitchcock perfected are still being used in modern suspense thrillers - running figures sillouetted against the sky, a screaming woman whose voice becomes the shrill whistle of a departing train, boat, etc., leading characters handcuffed together, the chase onto and through a moving train. The autogyro the police use to chase the leading man was a forerunner of the helicopter. The autogyro took off on a runway like an airplane but was kept aloft by a rotary propeller like a helicopter and was in it's infancy in 1935. Surely this was one of the first times a conveyience of this sort was used in a chase scene. The use of the autogyro (helicopter) and other aspects of STEPS are found in many later films including Hitchcock's own NORTH BY NORTHWEST.

The Criterion version contains the usual overvoice commentary; a documentary about Hitchcock's "British" period which includes the making of THE LADY VANISHES, the first MAN WHO KNEW TO MUCH, STEPS, and other favorites; plus a LUX Theater presentation based on the 1915 book THE THIRTY-NINE STEPS and starring Robert Montgomery.

If you're interested in film history or Hitchcock, or just want to watch an entertaining story you'll enjoy this film. Prior to viewing STEPS, I watched Woody Allen's PLAY IT AGAIN SAM (a send up of CASABLANCA), THE MAN WHO WASN'T THERE--the Joel and Ethan Coen film "noir" currently playing in movie theaters, and the American Movie Classics piece on film noir. I found the connections between film noir and more recent films fascinating.

You can, at times, see shades of the greatness to come in Hitchcock's direction, but he hadn't reached anywhere near his peak, at this point. I found the acting to be stilted, wooden, and caricaturish; the pacing alternately inappropriately frantic and unforgivably plodding.

Judging from the reviews that specify the version, the Criterion Collection edition is quite a good transfer. Unfortunately, the Laserlight Video version is a waste of plastic; dreadful audio, grainy, alternately washed out and too dark, splices, skips, etc. It's the version currently selling for [$$], and isn't worth even that paltry sum.

Students of Hitchcock, buy the Criterion Collection edition, if you must own this film. Fans of Hitchcock, rent the Criterion edition, if you wish to satisfy your curiousity. Everyone, avoid the Laserlight Video edition, at all costs!

The movie introduces many classic Hitchcock staples. Fans will see many similarities to later works. Most notable is the classic Hitchcock theme of the wrongfully accused hero.

Hitchcock, as always, demonstrates a mastery of the visual medium; the film is rich with story telling enabled through skillful use of the camera, rather using dialog as a crutch.

The DVD includes a so-so documentary that surveys his early work in British film. A running commentary is also available, that highlights many fascinating elements. Overall, the DVD translation fulfills what I would expect from Criterion--top notch.

STEPS is a beautifully restored and artfully done black and white film from the 1930s filled with excellent shots dependent upon back-lighting, side-lighting, and underlighting. In addition, many of the techniques Hitchcock perfected are still being used in modern suspense thrillers - running figures sillouetted against the sky, a screaming woman whose voice becomes the shrill whistle of a departing train, boat, etc., leading characters handcuffed together, the chase onto and through a moving train. The autogyro the police use to chase the leading man was a forerunner of the helicopter. The autogyro took off on a runway like an airplane but was kept aloft by a rotary propeller like a helicopter and was in it's infancy in 1935. Surely this was one of the first times a conveyience of this sort was used in a chase scene. The use of the autogyro (helicopter) and other aspects of STEPS are found in many later films including Hitchcock's own NORTH BY NORTHWEST.

The Criterion version contains the usual overvoice commentary; a documentary about Hitchcock's "British" period which includes the making of THE LADY VANISHES, the first MAN WHO KNEW TO MUCH, STEPS, and other favorites; plus a LUX Theater presentation based on the 1915 book THE THIRTY-NINE STEPS and starring Robert Montgomery.

If you're interested in film history or Hitchcock, or just want to watch an entertaining story you'll enjoy this film. Prior to viewing STEPS, I watched Woody Allen's PLAY IT AGAIN SAM (a send up of CASABLANCA), THE MAN WHO WASN'T THERE--the Joel and Ethan Coen film "noir" currently playing in movie theaters, and the American Movie Classics piece on film noir. I found the connections between film noir and more recent films fascinating.