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 Excellent...The movie and the DVD restoration! Jan 30, 2010
It's great to finally enjoy a beautifully restored edition of one of Hitchcock's early masterpieces. Highly recommended!
What else rhymes with "JOY"? (mild spoilers) Jan 27, 2010
"The Lady Vanishes", in my eyes, is the penultimate work of director Alfred Hitchcock. While most will argue "North by Northwest", "Vertigo" or even "Rear Window", this film - the last of his British - remains a stronger entry. The strength of the characters, the vast unknown as you travel on this train, the small (yet important) clues, the comedy of Caldicott and Charters; all of these merely scratch the surface of what "The Lady Vanishes" represents. It demonstrated that even with a small budget, a relative unknown cast, and a strong macguffin; that no special effects were needed. Money is not the solve-all for Hollywood. As films are released today, big effects and big budgets, nothing can compete with the power of a strong story. Hitchcock was aware of this, and thus, "The Lady Vanishes" was born. Criterion has included it, with a plethora of special features, in their growing collection, and for me - it stays as one of my favorite films of all time. Like a jigsaw puzzle, Hitch gives you only small piece by small piece, not even telling you which lady is going to "vanish", and with each viewing - the suspense grows deeper and stronger. As with most Hitchcock, it is not just about what happens in front of the screen (the introduction of the characters, the scenery, the time), but also what happens behind. It is this discovery which allows future viewings of "The Lady Vanishes" and proves Hitch's cinematic worth.
As I sat down to write this review, draft after draft was tossed out because I wasn't sure what to discuss on a film that has been dissected by some of the biggest film critics (Geoffrey O'Brien, Charles Barr, Robin Barr) and discussed by another great film maestro, François Truffaut. What could I say that hadn't been said before (also ranked #235 of the Internet Movie Database's Top 250 Films), so why not pick three scenes and discuss why they impacted my decision to name this one of my top 10 favorites ... a tough list to be on - especially today. So, here are the three moments in "The Lady Vanishes" that confirmed its honorarium in the Criterion collection as well as the accolades that Hitch has received for this body of work alone.
The first scene has to be the brief introduction of our characters in the small inn. Upon first viewing, there was no indication which of the multiple ladies would not be the one "vanishing", nor was there any direct way of knowing how these groups of different individuals would eventually come together on one train. Just sitting there, waiting for the avalanche to be cleared, we see adulterers, comedians, cricketers, wealthy Americans, musicians, and a little old lady who would eventually be at the crux of all this madness. It is this unknown upon first viewing, the sweetness with the second viewing, and the complexity of the third viewing that makes this nearly opening scene one that cannot be shaken from the mind. Hitch presents you with the early "who" of the film, but without that sense of direction, the darkness allows your mind to discover all possibilities, no matter how many times you watch it. Exactly how many were involved with the plot? Who knows, and that my friends, is only half the fun.
The second scene that stood out in this film was the cult window scene. Without indulging in spoilers, early in the film the window dirt is used as merely a greeting, and later as a divergence from madness. It is during the scene where the name is revealed a second time that always sends tension through my veins. The word in question is just staring at you within the scene, it evokes the need to scream from your couch to look up, to see what we all see, like Hitch is toying with his audience - to say that the beautiful Margaret Lockwood's sanity may not be in question. With merely one word, Hitch has created audience involvement, a level of excitement, and tension beyond belief. It is as if he is flaunting it. It is an iconic scene, but also one of those that speaks for itself. This dirty "word" proved that with a small budget (and no special effects) that you could pull your audiences in deeper. I would challenge any modern film to do the same, alas; I don't think they would have the same result.
Finally, the remaining scene that makes this film more than just print through a projector is actually not a scene at all, but Hitch's involvement of music into this entire film. Yep, it is a broad (and perhaps cheat) third scene, but from the beginning opening scenes a certain tune is flaunted in front of us as maybe just a mere theme music, but as the film continues we learn it is much, much more. Like the name on the window, the missing woman, the confused passengers, the music has a double meaning. It not only represents the mood of the film, but it also sends another message. What is that? Oh, I'm not telling, but Hitch smartly includes it whenever possible. Listen to the scenes, each one, there is a hint of this music throughout - almost including you within the overall story. "The Lady Vanishes" is not just a movie to watch, but also one that should be listened to. The score (if it can be called that) carries nearly more meaning than the characters. That, again, is the power of Alfred Hitchcock.
VIDEO: For everything mentioned above and more, this is a cinematic triumph. The actors are powerful, hilarious, and unique in their respective roles. What Hitch provides is small, yet powerful as he delicately gives us the whole of the story. He has created a film that can be enjoyed over and over despite knowing the ending. The macguffin stands out as not just a plot devise, but also a cult Hitchcock staple.
VISUAL: Criterion has done it again. Their transfer is immaculate. The released this film a while ago (as it is spine #3), but then re-released it about a year ago and this second release is by far the best. The cracks in the frames were cleared, the black and white seemed bolder, and the delivery of the small amount of special effects seemed clear and crisp. Watched on a DVD player that up-converted, this looked and sounded like I was in the theater (maybe even better).
SOUND: This was important in this film, Criterion realized that, and made it as clear as the visuals. The technical aspects of this film were vastly improved and restored to a quality Hitch would appreciate.
EXTRAS: Criterion, as always, has double-whammy-ed you with this double disc. It includes and audio commentary by film historian Bruce Eder, Crook's Tour, a 1941 feature-length Charters and Caldicott adventure, available for the first time on home video, starring Basil Radford and Naunton Wayne reprising their beloved The Lady Vanishes roles. Not to mention excerpts from François Truffaut's legendary 1962 audio interview with Alfred Hitchcock and Mystery Train, a new video essay about Hitchcock and The Lady Vanishes by Hitchcock scholar Leonard Leff. If you aren't saying "WOW", then something is wrong with you.
If you haven't guessed, I love "The Lady Vanishes" not just because it is a great film, but because it best represents Hitchcock's work. There is something for everyone, young audiences and mature cineophiles alike. The characters, the sound, the visuals all blend together to make a phenomenal cinematic journey. Every detail within "The Lady Vanishes" is important - and this is a film that should be watched - again, and again, and again. Impressive.
Grade: ***** out of *****
 In glorious black and white Jan 11, 2010
The film opened to what seemed to be a model town complete with a toy automobile or two. But, this was the release which put Alfred back into film production.
The viewing gets off to a slow start. In fact, if you are a first time viewer, you may wish to download the Wikipedia summary and character credits.
But,the film has it all: A strangled guitar player, pre-WWII spies of dubious allegiance, doctored drinks, an ersatz nun who switches sides, a shootout in the woods, a happy ending, several laughs, and folks who insist upon opening the sash, even though they are in the middle of winter. And, of course, the vanishing lady...
Watch for Alfred, as our heroic couple debark the train.
An enjoyable film which picks up steam as it goes. Viewing and sound quality are quite adequate.
One reviewer objected to commentary on the second disc, but the easy solution is not to view it.
1 of 1 found the following review helpful:
Fine Criterion release almost makes one forget how of their time these films are Nov 21, 2009
*Some mild spoilers ahead*
A warm, inviting feeling is set as the camera tracks through the (good, but still obvious) model village to rest on a comfortable old alpine chateau. Inside, the guests are crowding in for an unexpectedly cramped night after an avalanche delays the train that is to take many of them away. There's nothing ominous in this however, as the guests seem mostly filled with good cheer and petty arguments over accomodations and noise-making. Nothing ominious until a sinister hand reaches out and silences the singer to whom governess Miss Froy (Dame May Whitty) is paying rapt attention....
And so begins one of Hitch's best known British thrillers. Like THE MAN WHO KNEW TOO MUCH (1934) this suffers a bit from excessive exposition, though it's more entertaining this time 'round, and more obviously significant to the story to come. Miss Froy and several other guests we've been introduced to, including a somewhat snotty young woman (Margaret Rutherford) returning to England to be married, a musicologist and linguist who quickly becomes infatuated with her (Michael Redgrave) and a couple of rather gay cricket enthusiasts (Naunton Wayne and Basil Radford), soon board the train that is to take them out of the country, and into mystery as Miss Froy suddenly disappears and leaves the young woman wondering if she's insane as the rest of the passengers act as if they've never seen her.
It's murder and spies, and the film builds in excitement to an extended shoot-out and standoff in the woods, in which the worst excesses of Hitchcock's overt patriotism and the none-too-subtle allegory about pacifism in the face of the oncoming war come to the front. Cecil Parker's Eric Todhunter has been a cad throughout the film, but in the last scenes his cowardice proves deadly and we can almost see Hitch smirking in satisfaction. That doesn't ruin the film, which is full of rich characterizations and wonderful set-pieces like the scene in the magician's baggage car, but it does cheapen the effect and date the film somewhat, and for me it's a major reason why I can't place it among Hitchcock's very best. Still great fun, in a solid DVD transfer from Criterion with loads of extras, including...
CROOK'S TOUR (directed by John Baxter, 1941) which unlike the Hitchcock film has languished in obscurity. The two sportsmen, Charters and Caldicott (in their third film appearance), are on holiday in Persia as the film starts, on their way to Arabia. Their tour bus breaks down but they are quickly rescued by a sheikh who happens to have attended the same school as Charters -- the English still treasured Empire in 1941, at least in film. Through a series of quite preposterous mix-ups and coincidences the two quickly become embroiled in a plot by the Nazis to destroy Arab oil pipelines, unwittingly taking the place of a couple of German spies as they traverse a route Eastward to Budapest. Along the way they meet (time and a gain) a beautiful German singer/spy who may be helping them or trying to kill them, and avert death several times through the most ridiculous of chances.
I don't normally like to use words like "dated" but surely the appeal of this film is mostly going to be to English viewers of a certain age; most of the charm of Charters and Caldicott remaining unflappable and saying stereotypical upper-crusty Englishisms like "I say", "old man" and "Jolly what" over and over grew thin by the second reel. At no point until quite near the finish do they seem to understand or even care that they're in danger, and surely they are never in danger or breaking a sweat or removing their ties. Still, it moves at a fairly rapid pace and the leads (Basil Radford and Naunton Wayne) are amusing enough.
I won't do more than touch on the other features of this excellently-presented Criterion set, as I haven't listened to the commentary or watched the documentaries yet, but all in all this is another fine release fully up to their incredible standards.
All aboard for fun Aug 15, 2009
Spunky Iris Henderson (Margaret Lockwood) boards a train in Eastern Europe on her way to be married in England. Aboard are a colorful assortment of characters including two cricket-obsessed eccentrics, a suspicious couple having an illicit affair, and a rather scary magician. One bright note is an elderly governess, Miss Froy (Dame May Whitty) whom Iris befriends. As the trip gets underway, the old lady promptly disappears and no one seems to have seen her except Iris, who did suffer a bop on the head earlier and may have imagined her.
While the basic plot is a lot like Flightplan, this 1938 Alfred Hitchcock suspense story is full of comedic touches. The quirky characters are well-developed and appropriately silly or menacing and I was kept interested and guessing until the end. Lockwood is quite likeable as the spirited heroine and Michael Redgrave is fun as her joking yet sympathetic new friend.
The movie loses a star because model trains and bad indoor-for-outdoor sets are obviously used and in a shootout, two pistols hold at least a hundred bullets. But the overall mood is exciting as well as playful; indeed, this is a good mystery that doesn't take itself too seriously. Recommended.
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