An occasional series where I review a randomly selected movie directed by Alfred Hitchcock…
Spoiler warning: these reviews reveal plot twists.
This rough-and-ready revue film was made at Elstree Studios (‘The most marvello studio in Europe-o,’ says compere Tommy Handley) as a British reply to the lavish, all-star examples then in vogue in Hollywood. It was directed by André Charlot, Jack Hulbert, Paul Murray and – thankfully for our purposes here – Alfred Hitchcock.
The bulk of the film is presented as if you’re watching a live television broadcast made up of sketches and performances, all linked together by Handley (who still had a few years to go before his hit BBC radio series It’s That Man Again). Hitch was responsible for some bonus scenes: a rather silly running gag about people whose TV set isn’t working, which was at least topical given that television was an excitingly new medium at the time.
The format sees a parade of musicians, comedians, dancers (including a blackface trio) and magicians, then the climax is an elaborate and chaotic spoof scene from Taming of the Shrew, with superstar actress Anna May Wong throwing custard pies around for not immediately obvious reasons. One of the more interesting aspects of this black-and-white movie is that some of the dance numbers have been given primitive, yellow-heavy colour in post-production via the Pathécolor process.
Along the way, we get lots of precious footage of bygone stars – music-hall star Will Fyffe, actress Cicely Courtneidge, percussionist Teddy Brown – but most of the segments drag tediously and many have dated badly. At least the film never takes itself too seriously.
Five xylophones out of 10