The Manxman (1929)

The_manxmanAn occasional series where I review a randomly selected movie directed by Alfred Hitchcock…

Spoiler warning: these reviews reveal plot twists.

When two male friends both fall for the same woman, it leads to unhappiness and potential tragedy…

Before he established his reputation as the Master of Suspense, Alfred Hitchcock worked in several genres. In his silent period, for example, comedies and romances sat alongside the early thrillers. And 1929’s The Manxman – based on a 1894 novel by Hall Caine, the man to whom Bram Stoker dedicated his book Dracula – is pure melodrama. But at least it’s pure melodrama done with some sweetness, at least to begin with.

The plot is a by-the-numbers love triangle: The Manxman is more a case of man v man. Two life-long mates on the Isle of Man, fisherman Pete (Carl Brisson) and lawyer Philip (Malcolm Keen), are both smitten with local barmaid Kate (Anny Ondra, who sparkles with charisma in early scenes then brings real vulnerability to the role). Initially, Pete seems to be in with a chance, but Kate’s father objects because Pete has no money. So he sets off abroad to earn his fortune. While he’s away, Philip agrees to look after Kate. But their platonic friendship develops into romance.

Rumours then reaches the island that Pete has been killed in Africa, which makes Kate grimly relieved because she now wants to be with Philip. But when Pete arrives home alive and well, she feels enormous guilt and has no choice but to restart her relationship with him…

For all its orthodoxy, The Manxman is a compositionally beautiful film. Hitchcock opts for lots of straight-on, symmetrical shots and characters often look and deliver dialogue directly down the lens. This brings the viewer right into the heart of the story, making the characters vivid and memorable. There are also several nice, economic ways of advancing the plot. While Pete is overseas, for example, we see close-ups of Kate’s diary. As the weeks go past, ‘Mr Christian’ becomes ‘Phillip’ as they start their romance. Later, when Kate and Pete get married, the sequence is dramatised by a series of slow dissolves.

The lightness is giving way now, and the last third of the film contains some overwrought plotting. After Kate falls pregnant, it’s unclear who the father is. She goes to Philip, wanting him to take her away from her unhappy marriage. But his career has taken off – he’s now a Deemster, a Manx judge – and doesn’t want the scandal to damage his reputation. Kate is so alone and desperate she leaves Pete, but he keeps their newborn baby. Distraught, Kate attempts suicide by throwing herself into the harbour. She survives but suicide was an illegal act in 1929, so Kate is taken to court. And guess who the judge is?

The Manxman was Alfred Hitchcock’s final silent film and brings to an end the first phase of his career. He soon moved away from romances and embraced edge-of-your-seat thrillers. He experimented with sound and music. His movies became bigger is size and scale and ambition. And he developed a recurring character played by various actresses – a troubled, enigmatic blonde woman – and cast The Manxman’s Anny Ondra as the original iteration. Nearly four decades after shooting it, Hitchcock called this film an old-fashioned story. He was right. But that doesn’t mean it’s not still worth seeing.

Seven mills (but no Boons) out of 10.

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