The 39 Steps (1935)

Director:

Alfred Hitchcock

Writers:

John Buchan (novel)
Charles Bennett (adaptation)

Release Date:

1 August 1935 (USA)

Genre:

Mystery | Thriller

Tagline:

His First Picture Since "Monte Cristo" ROBERT DONAT

Plot:

A man in London tries to help a counterespionage agent. But when the agent is killed and he stands accused, he must go on the run to both save himself and also stop a spy ring trying to steal top secret information.

Plot Keywords:

Police | Spy | Music Hall | Murder | Foreign Agent

Cast

Robert Donat	...	Richard Hannay
Madeleine Carroll	...	Pamela
Lucie Mannheim	...	Annabella aka Miss Smith
Godfrey Tearle	...	Professor Jordan
Peggy Ashcroft	...	Margaret - Crofter's Wife
John Laurie	...	John - Crofter
Helen Haye	...	Mrs. Jordan
Frank Cellier	...	Sheriff Watson
Wylie Watson	...	Mr. Memory
Gus McNaughton	...	Commercial Traveller with Pipe (as Gus Mac Naughton)
Jerry Verno	...	Commercial Traveller
Peggy Simpson	...	Maid

Also Known As:

The Thirty-Nine Steps (UK) (alternative spelling)

Runtime:

86 min

Country:

UK

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (British Acoustic Film Full Range Recording System)

Certification:

UK:A (original rating) | France:U | Portugal:M/12 | South Korea:12 (2002) | USA:TV-G (TV rating) | Argentina:13 | Australia:G (DVD rating) | Australia:PG (original rating) | Sweden:15 | UK:U | USA:Unrated | Norway:16

Filming Locations:

Big Water of Fleet Viaduct, Dromore, Gatehouse of Fleet, Dumfries & Galloway, Scotland, UK

Company:

Gaumont British Picture Corporation

Trivia:

Madeleine Carroll suffered at the hands of Alfred Hitchcock's quest for realism, right down to the real welts on her wrists from the long days of being handcuffed to Robert Donat.

Goofs:

Continuity: The sideways shots into the car that Richard and Pamela are travelling in with the detectives uses the same view across a loch, even though the following shots show they are nowhere near water.

Quotes:

[first lines]
Music hall announcer: Ladies and Gentleman, with your kind attention, and permission, I have the honor of presenting to you one of the most remarkable men in the world.
Heckler in Audience: How remarkable? He's sweating!

Movie Connections:

Referenced in "Fractured Flickers: (#1.1)" (1963)

Soundtrack:

Tinkle, Tinkle, Tinkle

Great Combo of Suspense and Humor

Most people associate Hitchcock with suspense but he was also a master of dark comedy. "The 39 Steps" illustrates his ability to blend the two genres into a movie that works well on both levels. If he had turned up the comedy a tiny bit it would be just as hilarious as the best 1930's screwball comedies like "Bringing Up Baby" and "The Awful Truth". Imagine Katherine Hepburn handcuffed to Robert Donat as they wander the Scottish moors. But the chemistry between Madeleine Carroll and Donat is too good to replace her.

Hitchcock cast a great ensemble for "The 39 Steps". Lucie Mannheim, Godfrey Teale and John Laurie are outstanding. The supporting cast are all excellent. Yet in the midst of all this it is Peggy Ashcroft who absolutely shines.

Donat's misadventures while "on-the-run" from the law are the original "series of unfortunate events". It seems that he just can't go anywhere without being identified and chased. Hitchcock's technique is to lull you into thinking it will be an ordinary scene and then to casually throw something menacing into the scene, so the viewer can never relax. These are like getting a slap in the face before you have a chance to set yourself up for the blow. By comparison with the sinister delicacy and urbane understatement of "The Thirty-nine Steps," modern melodramas are obvious and crude.

There are many cool things to watch for:

CAMEO-As Donat and Mannheim board a bus early in the film, director Hitchcock makes his customary cameo appearance as a passer-by who tosses litter onto the sidewalk.

MATCH CUT-One of the most revolutionary edits in cinema history is in here; after the maid finds Lucie's body her scream dissolves into the hissing of a train whistle.

MISE EN SCENE-If you ever wandered what this was ("putting-in-the-scene" is a single shot sequence without cuts to another camera or transition to another scene), Hitchcock's closing shot is probably the all-time best example. As Donat, Carroll, and the police gather backstage around the dying Mr. Memory, on-stage behind them (visible from the wings) and performing for the Palladium audience is a chorus-line of girls high-kicking to the tune of Tinkle, Tinkle, Tinkle from the film Evergreen (1934). After Mr. Memory confirms the espionage plot, the camera angle changes slightly and Donat and Carroll fill the frame facing away from the camera. Donat still has the handcuffs dangling from his wrist. They spontaneously join hands - this time of their own free will.. The film fades to black.