“When I give all my love and get back treachery and hatred its – its as if my mother had struck me in the face.” – Charlotte Inwood
When you look at several of Alfred Hitchcock productions, you might notice how some of them have a theatric quality. Lifeboat, Rope, The Man Who Knew Too Much; motion pictures that have a potential to be done as a theatre spectacle.
So when Alfred Hitchcock has the chance to do a motion picture set in that universe of music halls, theatre, comedy, and drama, it is a delight for audiences who get to see Stage Fright.
Excellent romantic thriller from Alfred Hitchcock, this story is entirely set in the world of UK theatre. Starring Jane Wyman and Marlene Dietrich, this movie is adapted from Seleyn Jepson’s novel by none other than Alma Reville, Hitch’s wife, and co-starring Patricia Hitchcock in a third role. Bringing all members of the Hitchcock family in participation of this great story involving murders, romance, and tragedy. All the elements that Hitchcock fans will recognize in his movies.
In this story, Eve Gill, actress in study at the RADA, loves her friend Jonathan Cooper, whose mistress is entertainer Charlotte Inwood. But when that diva’s husband is murdered and Jonathan is wrongfully accused of the crime, Eve tries to investigate the case with her father to prove Jonathan’s innocence. A case that will become much more complicated as she meets a police detective named Ordinary Smith; and as she interacts with him, both of them fall in love. Creating a triangle dilemma for Eve.
Through her investigation, Eve discovers how manipulative Charlotte Inwood is. And with her, we discover themes linked to theatre culture. Among them; how the illusions of theatre are deeper than what we see on stage. How what we see before us might not always be truthful, and how the chemistries and stage dynamics might be deceptive and might hide unexpected tragedies and problems. While on the other side, we discover a world made of actors who create comedy and dramas offstage and into the real world, affecting the lives of others who can become puppets to other individuals.
So it is through this world of manipulation and deception that we see this story. And at its beginning, a lengthy flashback is shown. Through it, we see the perspective of Eve as she interpretes in her mind what happened. Using some retro projections and scenes set on stage. A move that ended up being controversial nevertheless and which Hitchcock apparently regretted. Though for me, I found it really good because it allowed us to see first hand elements that we would explore later through Eve’s actions.
Of the actors and actresses involved in this film, the casting choices were excellent. In Charlotte Inwood’s role, Marlene Dietrich was a delight in the production and excellent in performing as a mysterious Music Hall actress-singer and as a manipulative diva. Wearing glamorous Christian Dior dresses and costumes, her presence is one of the highlights of the movie and her songs a delight to hear. Meanwhile for Jane Wyman, she did a great job as Eve Gill and was convincing in her performance, though as the Hitchcock family explained, Jane found it frustrating to not wear the glamorous Christian Dior dresses which Marlene wore as the American actress used to wear sumptous costumes on other Hollywood films and now she did not have that chance.
In the role of detective Ordinary Smith, Michael Wielding is a charming delight. No wonder Elizabeth Taylor and him became a couple a few years later. And no wonder he would work again with Alfred Hitchcock on the period drama Under Capricorn. He is charismatic, gorgeous, and has a good presence on the screen. A fitting presence for the romantic and thrilling storylines of Alfred Hitchcock.
For Patricia Hitchcock, though her comedic performance was a third role in the film, her presence is quite memorable. And interestingly, apart from her scenes as Chubby Bannister, she also drove the fast car scenes at the beginning, doubling for Jane Wyman. Something that she revealed in her biography about Alma Reville, her mother.
Speaking of that woman, it is quite important to mention Alma since as wife, muse, and crucial film collaborator to Alfred Hitchcock, her words and thoughts about a scene and a movie were always important for him. If something pleased her, he kept it in the film. If a casting potential choice did not please her, he would refuse it. And if a scene had flaws in it, he would correct it. She, like him, was an important force behind the success of his work, which he has acknowledged many times; thanking her in public for her wisdom and movie knowledge.
In sum, both romantic and thrilling, Stage Fright displays wonderful elements of Hitchcock’s cinema. And also a chance for him to work with the superb Marlene Dietrich. It is a wonderful piece that deserves much more attention as it has been neglected at times by moviegoers.
So if you have a chance to see Stage Fright, don’t hesitate.
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