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8/10
Another Serial Killer in London
6 October 2007
Warning: Spoilers
The Scene is nighttime London in 1919. A serial killer is terrorising the streets, strangling his or her victims apparently at random.

It's a little difficult to say too much about this story, because so much contributes to the clever ending, when we may or may not get answers to the two important questions: Who is the killer, and What is his/her motive? British actors contribute to the London setting, although the police sergeant's phony Scottish accent is a little unpleasant.

The characters are very well played, especially the two main roles (Theodore Bikel and Rhys Williams), and the imagery is very clever, giving us genuine clues and red herrings alike.

I found this episode engrossing.
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7/10
The Ultimate Practical Joke
18 July 2007
Warning: Spoilers
A practical joke that turns out not to be so amusing...

The practical jokers convince someone that the world is going to end in 3 hours. All his efforts to make his life and the lives of others better in those final hours go horribly wrong.

This episode has a relatively large cast, all of whom fit their parts very well. We see the real cruelty of the practical joke. Our lead character is totally convinced that he and everyone else on the planet has only a short time left, but we know different.

Hitchcock was a great lover of practical jokes - he once bet a man that he couldn't spend a night in handcuffs, then gave him a nightcap of cocoa with added laxatives. The joke in the story initially seems more harmless, but has much worse consequences.

This is an absorbing episode that has an unexpectedly satisfying ending.
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8/10
Dream Come True?
18 July 2007
Bank manager Mr Findlater (John Williams) dreams of getting rid of his overbearing wife (Isobel Elston), aided by his dream woman Lalage (Barbara Baxley).

This episode is one of the more light-hearted ones. I always enjoy watching John Williams, but he really excels himself here - the way he expounds his second dream, doing all the voices, is brilliant. The whole episode is shown from his point of view, and he carries it wonderfully.

This isn't driven by atmosphere or suspense, but is great story telling. It's based on a story by A. A. Milne. I never liked Winnie the Pooh, but this makes me wonder if I should look at some of his other work.

Barbara Baxley is also good - both character-wise and physically - I wouldn't mind having her in my dreams...

Enjoy!
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Number 17 (1932)
7/10
Don't take it seriously
14 July 2007
Warning: Spoilers
Many of the comments here attempt to evaluate this film as a serious Hitchcock offering. Don't make that mistake. It's an hour of fluff, in two acts. The first one is full of atmosphere and suspense. Too full to be serious. It takes place mainly on a staircase. The second involves a speeding train chased by a speeding bus. To ridiculous to be serious.

Stairs and trains are both very important in many of Hitchcock's films. It's interesting that he uses both prominently in what is probably the one film where we really see him enjoying himself.

Hitchcock was near the end of his contract with British International Pictures when he was given the play "Number 17" to adapt, and virtually no budget (10,000 GBP). He chose to make this as a parody, and on that basis I think that it works very well.

As usual with Hitchcock's British offerings, the character actors are very entertaining. The two female leads are both lovely. Others have commented on the not-so-special special effects, but considering the age of the film, they're not bad, which makes them seem impressive when you consider how cheaply the film was made.

During the chase scene, Look out for the sign "See the countryside by Green Line". I don't know if that was put in intentionally or not, but it made me laugh. Like the passengers in the bus, hang on and enjoy the ride.
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Alfred Hitchcock Presents: One for the Road (1957)
Season 2, Episode 23
8/10
The Eternal Triangle
15 April 2007
Charles (John Baragrey) divides his time between his wife and his mistress. An arrangement that suits only one of the three...

Louise Platt plays the devoted wife, who would do anything for her husband, whilst Georgann Johnson is the attractive other woman, who naturally wants more - her second "tug of love" role in this series (see "Jonathan").

Charles is completely self-absorbed - he is not at all concerned with the feelings of either woman, and the fact that he provokes strong feelings in both (how strong we find out) is further evidence of his ability to deceive.

There are some great moments of suspense in this episode. The pace never lets up, and all three actors are excellent. Definitely worth a look.
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7/10
Double Indemnity with a twist
12 April 2007
A woman takes out a large insurance policy on her husband, who dies shortly afterwards. Everything seems above board, but the senior claims investigator for the insurance company smells a rat. Sound familiar?

This story clearly owes a lot to Double Indemnity, though it is not as deadly serious.

Joe Rogers' reputation is on the line as he is sent to re-investigate the "femme fatale" who has buried two husbands and made $100,000 in the process.

We follow Joe on his journey of discovery. Not a journey of dark psychology, complex plot turns, or even comedy, but one that leads to a satisfying conclusion...
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Alfred Hitchcock Presents: Jonathan (1956)
Season 2, Episode 10
8/10
A Tug of love that ends in tears.
5 April 2007
Jonathan was more than just a father to Gil - he had brought up his son single handed after the death of Gil's mother. Father and son were a team - tennis partners, friends.

There comes a time when the young must fly from the nest, but unfortunately Gil couldn't face that. He didn't want to go off to college, to have friends his own age (they couldn't compare with Jonathan). He wasn't ready for the "team" to break up.

So when Jonathan announced his intention to marry his attractive secretary (Rosie), Gil hated her before he'd even met her.

But now, Jonathan has died (apparently from a heart attack), and Gil naturally blames her. He is determined to find out how she killed him...

An absorbing thriller with a very clever ending.
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6/10
Enjoyable Light Relief
3 April 2007
Two spinsters (Carmen Matthews and Dorothy Stickney) and have agreed to sell their house to a property developer (Ray Collins) but, regretting it, plan to kill him.

This episode is a very light hearted black comedy, as is clear from the incidental music. No psychological tension or heart-stopping suspense here, just a fun ride. The pace is maintained throughout - it never drags. The three main actors are all well suited to their roles. Carmen Matthews' part is similar to the one she played 4 episodes earlier (Kill with Kindness), though here she is a little more human, and the story itself is much more satisfying.

I didn't find the story predictable, and there was at least one surprise turn in the plot.

As with many of these episodes, this is one where you really could do without the obligatory "no-one must get away with a crime" epilogues which I dread even before Hitchcock opens his mouth. Still, it's better there than in the story itself.

So, sit back and enjoy...
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Alfred Hitchcock Presents: Toby (1956)
Season 2, Episode 6
5/10
Good Supporting Characters in a Flawed Episode
2 April 2007
In a series such as this, not every episode hits the spot, and this is one of those.

A new tenant (Edwina, Jessica Tandy) arrives in an unsalubrious New York apartment block, and back into the life of one of the tenants (Albert, Robert Harris) after 20 years. But what is she hiding?

The supporting cast are good throughout - they set the scene very well, play likable characters and also provide the main impetus that moves the plot along, but the problem is really with the script. We aren't given enough insight into either of the main characters. Although we can sympathise with Albert, there is nothing perilous or threatening to provide tension. We never get to see things from Edwina's point of view, so it's difficult to care about her either.

As for the final revelation, I'm afraid that this was one of the two I'd considered from early on, so was a bit of a let-down.

All in all, not a completely unenjoyable ride, but definitely one of the lesser offerings in a great series.
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7/10
More than just a taste of things to come...
18 February 2007
The first "real" Hitchcock film leaves a lasting impression from the atmosphere - a killer (rape is, of course, not mentioned) is on the loose in London. Most of the action takes place at night, and the plot is centred around a family who struggle to make ends meet, and so take in a lodger. Hitchcock once said that he liked to make films with a contemporary setting because he could understand the minutiae of the character's daily lives. This is reflected in the realism of the family's situation.

Many people comment unfavourably about the soundtracks on most DVD releases of silent films. Unless it was specifically intended to go with the film, I always turn the sound off - don't let some arbitrary piece of music spoil your enjoyment.

"The Lodger" and "Frenzy" stand at either end of the director's career, both with "Jack the Ripper" style plots, and both set in London. Both contain bravura technical shots - famously in the "Lodger" there are the glass ceiling and the staircase. We have an engaging plot, good characterisation, and innovative visual storytelling. Hitchcock really did start as he meant to go on.
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7/10
It's worth persevering with
11 February 2007
The first half is rather slow, but keep going - it's definitely worth it. The humour in Hitchcock's films is generally based around great character actors (e.g. Jessie Royce Landis in To Catch a Thief and North by NorthWest), and here not one of the actors disappoints. Lillian Hall Davis has a better part in the Ring (also 1928 - Gordon Harker is again very amusing in it too), but is lovely in this film. Sound would have added nothing. My 8-year old daughter was apprehensive about watching a silent film, but once things started to get going in the second half, was hooked.

Hitchcock referred to it in later years as one of his "photographed plays", but the action occurs in several locations, so is nowhere near as constrained as many of his films (plays or not). In fact, even though the location shots are few and far between, they really give this film a non-studio feel.

All of Hitchcock's films are notable for their visual storytelling (look at the initial scene-setting in Rear Window that speaks volumes without a single word being uttered), and it is interesting to see the origins of this, and the great influence of German Expressionism.
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