Customer Reviews

Stage Fright [VHS]

5 star:		(25)
4 star:		(15)
3 star:		(9)
2 star:		(2)
1 star:		(6)

 

 

Like I said, STAGEFRIGHT is easily the most underrated of all Mr. Hitchcock's films. With first rate performances by all concerned(Alistair Sim is a riot), this was Hitch's first time back in England filming after many years abroad & it shows. Filmed in glorious black & white with the theatre as it's background, it's fuelled by almost every character playing a role other than their own & obviously having the time of their lives while doing it. Taking centre stage are Jane Wyman(a drama student who dangerously takes on her most important role in an effort to trap a murderer), Alistair Sim(as her father only too delighted to be caught up in the adventure)& Marlene Dietrich(delivering a deliriously over-the-top performance as a selfish actress). Filled with Hitch's trademark touches, the cinematography is magnificent(the garden party sequence is pure magic..watch for the sea of umbrellas)& hey! even Joyce Grenfell drops by for some great comic relief. Not that it needs it. This is the Master's great comedy murder mystery. 10/10 Bravo!!!!

Why Stage Fright doesn't rank amongst the top Hitchcock films is one of the great mysteries of the twentieth century. It has all the things that the best Hitchcock films have: great stars, Jane Wyman and Marlene Dietrich, both at the top of their game, a compelling storyline, a blossoming romance, and wonderful characterizations from the supporting players. The story begins with Eve Gill (Wyman), a student actress at the Royal Academy of Dramatic Art, and her attempts to shield her boyfriend Jonathan Cooper (Richard Todd) from being framed for the murder of the husband of stage actress Charlotte Inwood (Dietrich). Jonathan and Charlotte were lovers and he fears that this relationship will be exposed (it was a secret) and thus establish his guilt. Eve who has had a crush on Jonathan for years believes he is telling the truth and tries to expose Charlotte as the real murderer. To do this she pretends to be the cousin of Charlotte's maid Nellie Good (Kay Walsh) who ostensibly is ill. In the guise of Doris, Nellie's "cousin," Eve is able to gain Charlotte's confidence. As Eve gets closer and closer to Charlotte, the mystery surrounding the death of her husband becomes more confusing and complex. Along the way, Eve is attracted to Inspector Wilfred Smith (Michael Wilding) who is investigating the case. As Eve's character tries to solve the murder, her relationship with the inspector gets a little strained. She wants to tell Wilfred that she's Doris, Charlotte's maid, but the timing never seems right. With more twists and turns than the average Hitchcock film, Stage Fright moves along at a crisp pace, keeping viewers guessing right until the end. To reveal more would spoil the fun. Wyman is great as Eve and absolutely charming as the maid, Doris. And Dietrich is at her best playing a woman who isn't at all what she appears to be. And that's a big part of what makes this film so compelling. No one is who they appear to be! Everyone seems to be acting a part or role for one reason or another. There is great support from Todd, Wilding, Sybil Thorndike and Alastair Sim (as Eve's parents). Thorndike is simply hilarious as Wyman's mother, as is Sim as her father. If you're a Hitchcock fan, I don't think you'll be disappointed in this one, and if you're new to Hitchcock, by all means give it a try.

I've watched this movie countless times. It is one of my very favorites. It combines all of the hallmarks of Hitchcock mystery thrillers, with the unusual device of a combative pairing of two American film stars, Jane Wyman and German-born Marlene Dietrich. This dark against light struggle between women is not altogether foreign in Hitchcock films; one thinks of the pairing of Suzanne Plechette and Tipi Hedrin in THE BIRDS, but in that film the Plechette character is killed off early. Here, the dark-haired Wyman character who dominates the very first scene, survives until the very last scene. However, the fair-haired Dietrich character has equal screen time, and though they often appear separately, they do sometimes play together in the most unusual way and to the most peculiar effect.

Stage Fright is a murder mystery based on the Selwyn Jepson novel, and I would do the new viewer the greatest injustice by beraying even a little of the plot. Outside of the particulars of the homicide in question, this is a movie about deception and betrayal within the context of the Theatre and its tradition; of theatrical people and their lives which, to an outsider, seem to be little more than imposture and artifice. The film then, is an elaborate structure of mirrors, smoke and lies.

Among the aspects of STAGE FRIGHT which set it apart from other films of the period, is the exceptional musical score by an obscure composer, Leighton Lucas. So sophisticated and expressive is it at working to enhance the story, one is reminded of later Hitchcock films like VERTIGO. First class work.

The costuming is superbe. Dietrich as Musical Star and Comedienne, Charlotte Indood, wears Dior throughout, and the coutourier created for her two dresses which play a key part in the articulation of the crime. Both dresses are made of some ineffably gauzy silken stuff, so insubstantial and smoke-like, that one of them -- a pale, probably blue dress and absolutely plain -- can be balled up with one hand by Dietrich's lover, Richard Todd, and stuffed into his sportscoat at the armhole without beraying even the slightest bulge. That dress' twin is dark, and probably a navy blue.

I mention this incidence of the two dresses because although dresses have important messages to deliveer about the women who wear them in Hitchcock movies, in no other film of his does costume, wardrobe and dressmaking play so crucial a part in defining the roles of the actresses, as they go back and forth within the story, altering their appearances and changing their identities to suit their frequently devious purposes.

The dark-haired Jane Wyman, who often played in American films with her hair bleached and permed, here plays with a very simple bob. Her makeup is quiet, but not austere. Her clothing is classic, in that it is anglo-saxon clothing as we've seen it for half a centrury or more. It is conservative in cut, modest and discreet. She wears, for example, in the scene where she lures a detective into a confidential chat, what appears to be a double-breasted camel's hair coat which, to the casual observer appears to be nothing out of the ordinary, but upon closer inspection appears to be of the finest goods, and could be worn today, some fifty-two years later, without apology, anywhere.

One could go on and on about the clothes the actresses wear, and use all available time and space without mentioning the supporting actors in the piece, from Kay Walsh, Alister Sim, Michael Wilding and Richard Todd, to Dame Sybil Thorndike, Charlotte Greenwood, and the incomparable Miles Malleson. If any movie depended on perfect character work, and demonstrated it well, this movie does just that. The secondary characters alone are worth the price of admission; even Hitchcock's daughter. In fact, the English cast is so fine, one is often tempted to wonder what this movie might have been like if Hitchcock had cast instead of Dierich, Googie Withers, or Gertrude Lawrence, Vivian Leigh or Valerie Hobson in the Charlotte Inwood role. Certainly it would have been different, and there was no shortage of talented, beautiful actresses in London, then, as there is no shortage today. But, however she got the role, Dietrich brought with her one invisible ally none of the others possessed, and perhaps one which even Hitchcock did not expect. She brought her voice, and with it, just occasionally, she managess to tie together what might have seemed to her to be a somewhat too flabby, too comfy assemblage of little gray people, by displaying unexpectedly and to great effect, a shining thread of ironic sarcasm like a skien of stainless steel, holding the project together, and reminding all of us with the crack of a whip, that this is, after all, a story about a calculated murder.

This film is rather like one of Goya's etchings; a study in lights and darks, an intimate entertainment, meant to be looked at closely and quietly, and savored. Stage Fright is adult entertainment, in the very best sense of the term.

Hitchcock's STAGE FRIGHT is, indeed, one of his most underappreciated films, which is surprising considering how entertaining it is on all of its levels. The music is exciting, the acting of all is first-class, the cinematography of Wilkie Cooper is marvelous and the movie is bright, fast and amusing throughout. As a film, it is not to be missed.

As a DVD, on the other hand, it leaves much to be desired. Much can be forgiven in this release, which was not given too much care in the transfer from film to video, but what cannot be forgiven is the fact that the picture and sound are out of synchronization. And this is appalling for a major studio like Warner Brothers. It is unacceptable, in fact. Warners seems to be the worst in this regard. Their DVDs of BLOOD ALLEY, MAVERICK (the TV series) and about three dozen other titles that I am personally aware of are out of sync. It is fofr this reason that I cannot recommend this disc to fans - unless Warner Brothers remasters it with the sound and picture correctly in sync with each other.

The picture quality is only OK. There is a theatrical print of this film circulating in the classics movie houses which is vastly superior to the print used for this DVD.

All in all, a great film, but an unacceptable DVD

Dan Guenzel

"Stage Fright" (1950) is a convoluted charmer. Rarely has Hitchcock's attention to comedy and suspense been more seamlessly blended than on this occasion. Jane Wyman stars as Eve Gill, a novice sleuth determined to solve a murderous who-dun-it in a theatrical setting. Together with her flighty father, Commodore Gill (Alastair Simms), the two play a dangerous game of cat and mouse with the likes of Charlotte Inwood (Marlene Dietrich) the conspicuously aloof and greedy stage diva. One of only two films Hitch' made in England after becoming an American director ("Frenzy" is the other), "Stage Fright" was largely dismissed as a footnote to his career. Rarely seen on either television or home video the film nevertheless abounds with trademark Hitchcockian suspense, including a garden party that has more than its share of suspicious looking umbrellas and an incredible amount of innovative and refreshing camera work.

Warner's DVD transfer exhibits a balanced gray scale with deep, solid blacks and reasonably clean whites. Dirt, scratches and other age related artifacts are present but do not terribly distract. There's a complete lack of edge enhancement, pixelization and shimmering of fine details for a picture that is overall smooth and easy on the eyes. The audio is mono but very nicely cleaned up.

This is now one of my favorite Hitchcock films. Stage Fright was a new addition to my collection, and it will definitely be making a rotation in my DVD player. This story of murder, deceit, and intrigue is pure fun!

Jane Wyman plays mousy drama student Eve Gill, committed to getting her longtime friend Jonathan Cooper out of the murderous trouble he has gotten himself into with his mistress, stage actress Charlotte Inwood (deliciously played by Marlene Dietrich).

She takes her drama lessons out of the classroom, playing different roles from person to person in an effort to get at the truth behind the murder of Inwood's husband. In the process, she falls in love, gets blackmailed, and ultimately realizes her longtime friend Cooper isn't all she thought she was.

This movie is just fun to watch! Wyman lends her own blend of sweetness and comedy. You find yourself desperately hoping that she isn't caught as she juggles the various identities she assumes. Dietrich is the consummate drama queen, enveloped in all of the glamour and hautiness of the era. Her onstage performance of "The Laziest Gal in Town" just sums up her character to a tee. The ensemble of British actors (playing Eve's parents, and a variety of other cast members) injects an indescribable charisma to the film in general.

Stage Fright is truly a Hitchcock diamond in the rough. Yet another underappreciated film artfully directed by the great one.

This is the best Hitchcock and one of the best movies I have ever seen. It was perfect. In fact, it had only one flaw, and that no doubt was the government's doing, not Hitchcock's. A Porter tune and I think a signature tune of Dietrich's and sung by her in this flick ("The Laziest Gal In Town") goes "It's not cause I wouldn't. It's not cause I shouldn't. And lord knows it's not cause I couldn't. It's simply because I'm the laziest gal in town." Well, the censors had their way and changed the line to "And you know I couldn't." Bleah! But that is the only thing wrong with this wonderful, suspenseful, surprise and twist filled, humorous (and I mean genuinely funny!) movie. The acting was perfect. The directing was perfect. And the whole thing was fascinating and great! I loved it.

This is a great Hitchcock movie, but don't be misled by "Remastered" on the cover of the [...] DVD. As one reviewer already noted, the image has a jerky quality that is very distracting and unwatchable. Buy another version.

This review is for the 2004 Warner Brothers DVD.

The movie 'Stage Fright' opens with Jonathan Cooper (Richard Todd) and Eve Gill (Jane Wyman) fleeing London in a car. As they are driving off eluding the police, Jonathon tells Eve of the mess that he's in. His story in a nutshell is that a famous actress named Charlotte Inwood (Marlene Dietrich) killed her husband in their home and splattered blood on her dress and came to Jonathon's apartment for help. Jonathon explains that he ended up going back to the murder scene to get Charlotte a clean dress but was seen, thus making him the primary suspect. From this point on Eve does a number of things to protect and exonerate him including working as an operative so that she can find evidence to convict Charlotte of the murder.

The film uses some shameless chicanery to misdirect the audience. To avoid spoiling the plot, my problem wasn't so much that a subterfuge was used, but that it carried on this charade for just about the entire movie (until the final few minutes of the film). But that wasn't the biggest flaw for me. My bigger problem with the film is that its obvious that Jonathan is grossly infatuated or in love with Charlotte, and this becomes crystal clear to Eve, yet she still does everything possible to help him get out of this mess. Another significant problem is that Eve, who lives in London and has British parents speaks with an American accent except when she's a spy.

But in spite of these problems, Marlene Dietrich gives a mesmerizing performance that's truly Oscar-worthy. Even beyond her radiant beauty, she exudes confidence and poise in every scene she's in. Alastair Sim, who plays Eve's father in a supporting role, gives a very witty and extremely entertaining performance. If you get past the American accent, Jane Wyman does a decent job too. The movie is still very entertaining and fun to watch - again mainly due to Marlene Dietrich.

The B&W picture quality of this DVD is sharp but the presentation is marred by specs of film deterioration throughout the film. Sadly, a severe vertical scratch appearing for at least 6 or 7 seconds severely distracts the final scene of the movie. The sound was good for a film this old. The only worthwhile bonus on the DVD is a short commentary about the film `Stage Fright'.


Movie: B+

DVD Quality: B

Stage Fright, along with "Marnie", "The Birds", "The Lady Vanishes" and "Frenzy", are my favorite Hitchcock pictures. (I know this statement will enrage many Hitchcock afficionados, but it is a sincere opinion.) I base my opinion on the fact that these are five films that I can watch over and over again and still thoroughly enjoy them and find new things to marvel at. Granted, I acknowledge that Hitchcock's "Vertigo", "Psycho", "Rear Window" and "Notorious" are great masterpieces themselves, but I do not go back to view and enjoy them time and time again like I do with "Stage Fright" and the others I mentioned. I guess the critics were so enraged that in "Stage Fright" Hitchcock committed the unpardonable sin of showing a flashback that turned out to be a lie. I personally cannot see why this is so wrong. After all, he is showing what a character is relating to another.

Why is this movie so great? There are many reasons. First and foremost, this is a fun movie. There is so much humor about it, with quirky, unique and eccentric characters. Although this is a murder mystery, I think the emphasis is not so much on suspense as it is on giving the audience a fun time in unraveling the mystery. (This film, I'm sure, was an inspiration to Francois Truffaut when he made his final film, "Confidentially Your" (which is similar in nature)). The cast in "Stage Fright" is terrific. No one had the charisma and special quality that Marlene Dietrich had, and this role was tailor made for her. She is incomparable. Jane Wyman is sweet and beguiling as the role demands. But it's the cast of supporting British thespians that makes "Stage Fright" so memorable. Richard Todd is suave and sinister, and Michael Wilding brings some color to a very common character. Alistair Sim is hilarious as always. So are Kay Walsh, Joyce Grenfell and Sybil Thorndyke in smaller roles.

I wish more people will discover this wonderful Hitchcock film. This is a terrific, enjoyable movie.