The Lady Vanishes
(PG, 1:35:10, Released 1938)
|Genres:||Mystery & Suspense, Classics|
|Release Date:||Nov 1, 1938|
|DVD Release Date:||Nov 9, 2000|
|Starring:||Margaret Lockwood, Michael Redgrave, Paul Lukas, Dame May Whitty, Cecil Parker, Linden Travers, Mary Clare, Naunton Wayne, Basil Radford, Emile Boreo|
|Directed by:||Alfred Hitchcock|
|Synopsis:||The Lady Vanishes, Alfred Hitchcock's comedy-thriller, came at the end of his British period; this film's success brought Hitchcock to the attention of Hollywood. He would complete only one other British production, Jamaica Inn, before crossing the Atlantic to working for David O. Selznick on Rebecca. The film concerns the young Iris Henderson (Margaret Lockwood), heading home on a train after spending the holidays in the Balkans. Iris becomes friends with a kindly old lady, Miss Froy (Dame May Whitty) after Iris gets hit in the head with a flowerpot meant for Miss Froy. On the train, recovering from the blow, Iris falls asleep. When she awakens, Miss Froy has vanished, replaced by someone else in Miss Froy's clothing. Iris talks to the other passengers, a bizarre collection of eccentrics who think that Iris is crazy for insisting on there even being a Miss Froy -- everyone denies having ever seen the old woman. Finally, Iris finds a young musician, Gilbert (Michael Redgrave), who believes her and the two proceed to search the train for clues to Miss Froy's disappearance. ~ Paul Brenner, Rovi|
|Full movie details|
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Other Top Reviews
November 4, 2013
This film is one of Hitchcock's most famous, and earliest triumphs in London, gliding him into box office fame, and inspiring an entire new generation of filmmakers. With this, his most complex and inciting work to date, the master of suspense really drags out the plot until it finally unravels in a most thrilling fashion. Hitchcock took a tale from 1880's London and transposed it for modern audiences, set it in a fictional European country, and included spies, gunfights, and an array of violence. The film is set on a train, uses very little setting, and concerns only a handful of people. Iris (Lockwood) is riding the train with an older woman she met at a hotel in the foreign country of Baldrika. Now, the fictitious country really could be anywhere in Eastern Europe, but I got the sense that it was trying to convey somewhere in Western Russia, because between the accents and the uniformity of the officers depicted, that's what I thought of. Iris and Miss. Froy (Whitty) board the train after Iris suffers an accident, and probably gets a concussion. She passes out, and when she awakes everyone on the train says that she must have imagined her. The rest of the film Iris and Gilbert (Redgrave) try to find her amongst the luggage, lying train staff, and comedic foils (Wayne and Radford). This remains one of Hitchcock's better remembered films because the premise is so strange. Someone disappearing happens quite a bit, but for that person to be regarded as imaginary, really makes it a psychological rollercoaster. In the last twenty minutes it shifts radically from a suspenseful thriller to action thriller. After the plot is unraveled for the audience and the villain has given exposition on their plan, there's a gunfight aboard the train, and the tone shifts radically. That was very surprising, especially since it made the film even more suspenseful. This may be the first action film of its kind, pairing wit and humor with unapologetic violence. Hitchcock melds genres for the first time, and it's as seamless as expected.
August 17, 2013
Almost everything would have fallen apart had this comic thriller being executed by anyone else than our very genius Alfred Hitchcock. There are quite a lot of characters, but as is often the case, instead of distracting, it only adds to the entertainment. Fared well for me, though a bit less than most of other Hitchcock films I've enjoyed.
July 4, 2013
The Lady Vanishes remains arguably one of Alfred Hitchcock's best film. With an incredibly talented cast, a pleasant mix of humour and suspense, as well as a very satisfying ending, this film shows the director at his absolute best (before coming to America and making his more popular films). Some critics and audiences have claimed the first act is too long, but there's a certain charm to the way the story takes its time setting up the characters, particularly the relationship between Iris and Gilbert.
Hitchcock's brilliance is best displayed in movies with few locations - Psycho, Rear Window, Rope. The train setting in The Lady Vanishes ensures that the characters are limited and that any one of them could be the culprit behind the kidnapping of Miss Froy. There are incredibly well executed scenes of suspense, such as the multiple shots of Miss Froy's name written on the window sill. And it is all presented with a light-hearted touch that never forgets to keep the audience laughing as much as gripping the edge of their seats. This is a must-see for Hitchcock fans!
March 14, 2013
The Lady Vanishes is actually quite clumsy. The overlong introduction is pointless, many of the characters bring nothing to the overall story and all seriousness is continually interrupted by misplaced humour. Nothing about it should work, if it were put forward today it would be torn to shreds by a writing team and would be unrecognisable. The thing is though, is that for all its failing, it's a great little film. Maybe it's the best example of Hitchcock's greatness because everyone loves it despite and maybe even due to it's failures. It is very likable, has a great cast of characters and an unforgettable and brilliant ending, it goes to show how some producers still can't get things right, we're too used to formula, Hitchcock addressed this (and also added to it through no fault of his own) and film makers should look at what he didn't do just as much as what he did.
May 8, 2012
International intrigue blends with romance as two European railway travellers go missing one friend, and everyone who ever saw the lady denies it. Things are kept light and airy, breezy, despite conspiracy theories and knife fights afoot with plenty of comic shots at the expense of stiff upper lip English abroad perception. Was this really made in 1938?!?
February 20, 2012
I really adore Alfred Hitchcock's drama comedies. They're very entertaining and tend to keep you glued to your seat until you find out what's going on. In this conspiracy theory comedy extravaganza, The Lady Vanishes is Hitchcock at his early best. Margaret Lockwood and Michael Redgrave are dazzling as a screen duo, and their performances are what gives the film a lot of its value. They're not standout performances or anything, but they keep you locked in. Much of that has to do with the direction, I'm sure. At times the film is laugh out loud funny and at other times a little creepy, which is a perfect combination. My only problem with the film is that once the main narrative thread is resolved, there's still another thirty minutes devoted to the film's subplot. In other words, the film like it ended much earlier than it actually did. Not that it devalues the story; it just goes on a bit more than it needed to. Otherwise, the film is very slick and should delight anyone who's looking to see other Hitchcock films besides his big name ones.
December 30, 2011
This is Hitch in pretty close to top form. The story is a fun and exciting thriller about a young woman traveling across pre-WWII Europe by train who believes that an older woman she had become acquainted with has suddenly and mysteriously disappeared. To make thigns more frustrating, everyone on the train claims the older woman neverexisted and that it's all in the young woman's head. To be fair, the young woman was hit in the head with a flower pot, but still, that doesn't stop her from trying to prove that she's right and everyone else is (for whatever reasons) trying to hide something.
Nowadays this plot seems very quaint, familiar, and nothing special, especially since Flightplan borrows so heavily from it. However, I think it's held up quite well over the years, and is definitely somewhere on the high end of the scale for Hitch (either for his 30s period, his British era, or maybe just overall period).
The film does start off a little slow and take some time to get going, but once it does, it's just sails right along. There's a good mystery thriller here, some good twists, great atmosphere, and some decent acting. Essentially, this gives you all that you'd expect from a suspenseful mystery thriller, especially one made by the Master of Suspense. All in al, I give it an extremely high B+
fb1664868775November 17, 2011
Hitchcock directs a great ensemble cast in this hilarious (and ofcourse, suspenseful) 30's classic.
August 12, 2011
April 14, 2011
Amazing early classic from Hitchcock that's as charming as it is British (and it is very British).
February 12, 2011
By the time he made The Lady Vanishes, Alfred Hitchcock had been directing for seventeen years. He had built himself a reputation as a consummate craftsman and made his fair share of mistakes along the way (the bomb scene in Sabotage being one of his biggest regrets). Coming just before his move to Hollywood and the Oscar success with Rebecca, The Lady Vanishes is a taut, streamlined and emotional thriller with all the classic ingredients out in full force.
The Lady Vanishes is a very loose adaptation of The Wheel Spins by Ethel Lina White - so loose, in fact, that almost everything in the film is different. The setting and some of the character names are unchanged, but the rest has been markedly altered - judging by this, for the better. Such decisions tie in with Hitchcock's underlying interest in technique over content: his concern was never with what the story is about, as with how was the best way to tell it.
The first plus point of the film is that it takes a relatively simple premise and not only runs with it, but explores it from every conceivable angle in the space of 90 minutes. Even when there's a big shoot-out in the last ten minutes, the film has the strength of its convictions and never feels like the director is giving up on the material. Whereas Flightplan wanted to be taken seriously and ended up hoisted by its own petard, The Lady Vanishes follows through with its premise until Hitchcock is satisfied that the audience's needs have been met.
The film contains a number of aspects which foreshadow Hitchcock's better-known work. He would return to dreams and hallucinations a few years later in Spellbound, and both films are rooted in unreliable narrators searching for an identity which may or may not be their own. When Miss Froy is first introduced to Iris, the latter mishears it as Freud, further confirmation of Hitchcock's continued interest in sex, dreams and psychology.
Like The 39 Steps before it and Notorious after it, The Lady Vanishes is a classic story of ordinary people caught up in the world of spying by a single chance encounter. And there is a tenuous link with The Birds in a scene halfway through, where Margaret Lockwood and Michael Redgrave are beset upon by pigeons. But the film is also a refinement of existing techniques. The use of shadows in the strangling scene is a development of the gallows sequence in Murder!, while the use of kaleidoscopic vision to depict hallucinations is taken from Fritz Lang's Metropolis.
The claustrophobic setting of The Lady Vanishes means that there is much less opportunity for the performers to descend into melodrama. While there is no doubt that their characters are whimsical, they feel genuine and understated, and there are only occasional moments in which our heroine has to be hysterical on cue.
At the beginning of the film we are introduced to a host of characters staying in an overcrowded hotel after their train is delayed by an avalanche. We focus on two irascible Englishmen who are frustrated by their failure to be understood and by the lack of appreciation for cricket (they are trying to get home to watch a test match). In one scene the older gentleman hangs up on someone else's phone call because the other party didn't know the score; in another, he makes jibes about Americans having no sense of perspective because the New York Times covers baseball but not cricket.
This sense of whimsy is complimented by Hitchcock's use of language as a means of alienation. Many different languages are spoken on screen as a means of making our heroine more isolated. There are no subtitles, and only so many characters can interpret, which is one of the reasons why Iris and Gilbert become friends. This device is a huge influence on the level of trust we have for both our heroine and the other passengers: are people simply misunderstanding her, or do they have something to hide and are using language as a protective barrier?
Hitchcock always made a clear distinction between mystery and suspense, with the former being wholly intellectual and the latter emotional. Superficially, The Lady Vanishes could be classed as a mystery, since its plot is based around a search for a missing person, just like a detective searching for the murderer. The story has vague similarities with Murder on the Orient Express: the action takes places on a train with many strangers from different countries, their various stories do not corroborate and in one solution everyone is in on it. But Hitchcock doesn't just settle for a sense of mystery, and as things move forward it is our emotional response which becomes key.
The suspense he generates comes from a number of sources. Some of it is down to set-pieces, the most dramatic being Michael Redgrave having out of the train window in the manner of The 39 Steps. Some of it comes from the time restrictions involved - the train moves to various stations, and characters constantly mutter about crossing the border and needing to make connections. And some of it comes from physical constraints - short of jumping out the window, there's no way off a speeding train. But all of these examples work because of the emotional attachment we have to the characters, both in the reluctant romance and the development of Iris' character as she moves from pity and despair to being more determined and resourceful.
Like so many of Hitchcock's thrillers, The Lady Vanishes is brilliant at throwing us off the scent, with little touches here and there which appear more significant than eventually transpires. Through a series of cleverly timed edits, we come to believe that the two Englishmen we meet at the start are the ones we should be watching. After Iris and Gilbert pass along a corridor, we see them coming out of a hidden cubicle, as if they were trying to avoid her. Later we see them talking about the pressing need to get back home: these scenes are shot from a more intrusive angle, so that all their talk of 'cricket' could easily be nothing of the sort.
Then we come to the twist. It's hardly the most impressive or shocking in cinema, but for a film anchored by an unreliable narrator it handles it very assuredly. Some thrillers, like Shutter Island or Heartless, eventually have to come down on one side or the other and say what was real or true in a often disappointing manner. With The Lady Vanishes, no such moment is necessary because only one version of events can be true. Because we see Miss Froy around other characters before she boards the train, she has to have genuinely disappeared. Had the entire film been set on the train, with no preamble, only then would the other option been remotely viable.
On top of all that, The Lady Vanishes is surprisingly funny. Although certain elements have dated, it takes a playful look at national stereotypes, saluting English resolve while sending up the stiff-upper-lip. Michael Redgrave gets all the juiciest lines in a caddish performance which serves as an interesting contrast to his work in The Browning Version or The Dambusters. And then there are the two Englishmen, whom after talking about cricket forever and explaining wickets with sugar cubes, finally get back to London to discover the match was rained off.
The Lady Vanishes is a great thriller from a director on the cusp of greatness. It takes a simple, modest premise and rings out the maximum amount of both thrills and tension. The performances are believable, the plot is twisty and compelling, and Hitchcock's direction is assured and professional. Later works would be more experimental, but this remains a highlight of his pre-Hollywood career.
September 19, 2010
This movie was confusing to me, it has some boring scenes and some exciting scenes, but the ending was strange. Not Hitchcock's best.
July 17, 2010
"Well, anyway, I refuse to be discouraged. Faint heart never found old lady."
Ah, this was a great movie! One of Hitch's best, and certainly one of his most entertaining. It was funny, thrilling, and just plain old fun to watch.
The story is quite simple. A sweet old lady disappears on a train, and the only person who admits ever seeing her, is a young woman who met her the night before. As she searches for the old lady, she's helped by a roguish young man, and they soon begin to wonder just who this lady is, where she went, and why on earth would so many people go through so much trouble to make it seem like she never existed. It all makes for a very compelling mystery.
The Lady Vanishes features some of the best characters I've ever seen in a Hitchcock film. Margaret Lockwood and Michael Redgrave were great as the two main protagonists, and the witty banter between the two was equaled only by the two dry, cricket-obsessed Englishmen who provided so much of the humor of the film. I found this movie to be similar to Rear Window (no wonder I enjoyed it so much), as there are many subplots among the minor characters that are almost as interesting as the main story.
I firmly believe that this is the best I've seen of Hitchcock's early movies. It has everything from shootouts to nuns in high heels. The Lady Vanishes will convert you to being a fan of Alfred, if you're somehow (drugs?) not already.
April 29, 2010
A very interesting story and probably the third best film Hitchcock made before going to Hollywood. While it has nothing on some of his later work, this takes a relatively simple premise and creates an interesting thriller.
May 20, 2009
This is a very early Hitchcock movie (1938). And it surprised me that this is in the Criterion Collection. The movie intertwines every aspect of the movie genre, ie, mystery, drama, comedy, suspense. The added slap stick surprised me coming from Alfred Hitchcock. Also Hitchcock makes his brief appearance in this movie, which I will not give away. Don't let the year of this film scare you. The first 10-15 minutes gives you time to relax and adjust to the story and then from there on out, you better not get up for popcorn because the movie takes off. You have a group of people who are trying to board a train, but are held up over night because they are snow bound in the mountains of Europe. Now we set up for a meeting with all those who will later play a part in this film. The next day before boarding the train Iris gets hit on the head from a falling brick meant for Miss Froy, she makes friends with Miss Froy before passing out, after tea and coming to, Miss Froy has disappeared and no one knows here or says they never seen her. So begins the great mystery. Later we find out that Mrs. Froy is a spy and the Germans of course are involve and the bad guys. So you see Hitchcock has woven everything into this movie. 4 stars only because of its age and film quality. My Copy came from the BCI Alfred Hitchcock Legends of Hollywood Collection 12 Movies for $9.95 on Amazon
February 21, 2009
This reminded me of The 39 Steps in the sense that it's another example of Hitchcock perfecting his technique as a director. In hindsight, one can see flashes of Hitch's signature style that would later shape his more popular classics (i.e. Vertigo, Rear Window, Psycho, etc.). That being said, even as a young, inexperienced, fledgling director, his brilliance shines through.
November 23, 2008
easily one of hitchcocks best films, this is also one of the greatest films ever made. incredible photography, a perfectly crafted and haunting script, a brilliantly chosen cast, and a well thought out plot. there were no holes and the entire film was perfectly executed. to be honest, i was nervous the first 30 minutes, and then the last hour was one of the most mind blowing and engaging hours of film that i have ever seen. a perfect masterpiece.
October 24, 2008
perfectly charming and really funny
October 3, 2008
Slow starting, but in typical Hitchcock fashion, a great original conspiracy story. Hitchcock certainly loved his trains.
An enjoyable film and a rating to reflect the quality for it?s time
August 5, 2008
Early Hitchcock that has some really cool moving shots that give you a little taste of what is to come later in his career. I like the way he used models in the opening. It's also surprising how funny this movie is, but at the same time I think the plot was a little much at the end. Redgrave is great.
December 16, 2007
Clever, a lot of fun, but a little thin. Still it stretches what it has well. Hitchcock's last film before going to Hollywood, the last time he'd work with such a limited budget.
August 10, 2007
This is the best of the early Hitchcock films. The plot is absorbing, the dialogue clever and the cast great. Whether or not this was the first of the director's films to place its principal action on a moving train I cannot say, but it's a theme that would come back again in his later work, most notably in "Strangers on a Train."
The film gets off to a somewhat rocky start with the camera panning over an Alpine inn and a train halted mid-journey by an avalanche. I agree with the review who observes that we've become spoilt by more sophisticated special effects. A Lionel half buried in a heap of bleached wheat flower just doesn't cut it nowadays. Think also of the stick figure engulfed in the munitions factory explosion in "Saboteur." I suppose directors of that era had to do with whatever was available.
But after this point the film really takes off, and one scarcely recalls the unpromising opening. Viewers always look for the chemistry or lack thereof between actors. Well, Lockwood and Redgrave definitely have it. One cannot help but enjoy seeing how the initial sparks flying between their clashing characters develop into true love by movie's end. As the two are making their way through the train trying to locate Whitty, they move from one barely plausible predicament to another. But we love it, as one witty exchange turns quickly into another. (For example, Lockwood is asked to describe the missing Whitty and launches into an extremely detailed portrait that leaves not a single button unaccounted for. Then she ends by saying, "That's all I can remember." Counters Redgrave dryly: "Well, you can't have been paying attention.")
Much of the film's action occurs in the fictional country of Bandrika, which seems to be a thinly disguised stand-in for nazi-controlled Austria, so recently annexed by Hitler's Germany. As an amateur linguist, I found myself trying to make sense of the made-up "Bandrikan" spoken by the natives, but of course was unable to do so. (What could it be? A Finno-Ugric language? :) Most of the time the identity of Hitchcock's villains remains deliberately vague, except in "Notorious" and "Torn Curtain," where they are nazis and communists respectively. It works better when he leaves us guessing.
As an amateur musician I loved Hitch's "macguffin," namely, the secret formula encoded in a song which the protagonists had to memorize and carry to the Foreign Office in London. (I should think, however, that a genuine secret message might translate into something more like Schoenberg's twelve-tone music than a central European folk song, but of course that would hardly work in a film. :)
The early Hitchcock seemed to like shootouts, as seen also in the first version of "The Man Who Knew Too Much." But shootouts are an ineffective way to convey suspense, and this is perhaps the one thing that dims what is otherwise a masterpiece.
It's too bad the director lived long enough to see this film remade in 1979. Cybil Shepherd is no Margaret Lockwood, and it's pretty unpleasant-almost embarrassing-to see her shrieking her way through each scene. Couldn't they have waited a few years until he had passed on? They ought to have let him die in peace.
June 13, 2007
Really funny and entertaining british-era Hitchcock film.
March 15, 2014
Wow, I heard that this was one of Alfred Hitchcock's more fluffy thrillers, but I wasn't expecting it to be about something as fun as magicians. Oh, now, come on, people, don't tell me that you weren't thinking that when you see this film's title, or even that this film involves a train, the preferred form of transportation for circus folks, but no, don't get too excited, because this isn't that festive. Well, to be fair, I don't know if Hitchcock making a woman disappear is much of a laughing matter, because you couldn't trust him around blondes, and it would be easy to hide them behind that gut. Man, Hitch sure did love his gravy, which is why he took a train of the gravy nature to Hollywood shortly after this film. Well, either the financial opportunities brought him over here, or the fact that probably shouldn't have showed his face around Britain for a while after "Jamaica Inn", but as far as people are concerned, this was Hitchcock's last, pre-"Stage Fright" hooray in his hometown, and boy, he sure does make it count. Seriously, this film is so British that, while it saw a hiatus on Hitchcock's, it also saw the debut of everyone's favorite recurring pair of supporting-cast cricket connoisseurs, Charters and Caldicott, and if you remember those blokes, well, my friend, how are you still alive? I'd say, "jokes aside", but, again, this is one of Hitchcock's less urgent thrillers, and not just on purpose, being pretty engaging, but not as thrilling as, well, a circus act, and for a couple reasons.
While black-and-white, the film's ensemble cast is pretty colorful, and that would be great and all if the many members of this character roster were more thoroughly developed, as the film, at just over 90 minutes, isn't long enough to flesh out its sizable cast, which feels overblown due to its being undercooked, not unlike the film's tonal layers. Just as the cast isn't especially immense, the film's tonal layers aren't especially dynamic, rarely losing its light heart, which upon being pumped up a little bit, convolutes the sense of momentum of this comedic thriller, though not without the help of inconsistencies in pacing that place a more direct plague on momentum. Well, maybe pacing isn't all that inconsistent, because its lively spells are mighty limited, compared to the limp spells, initiated by meandering material, and anchored by very British dry spell in atmosphere that range from bland to kind of dull. Sure, the film is pretty entertaining on the whole, based on its overwhelming charm and wit, but Alfred Hitchcock's questionably thoughtful approach to Sidney Gilliat's and Frank Launder's meandering scripting slow momentum down more than it should, especially if the film is trying to keep you from thinking about just how thin its narrative is. With all of my talk of undercooking, this film doesn't have much depth to flesh out, and as much as I talk of pacing inconsistencies, this story concept doesn't carry that much momentum, being ultimately more fluffy than intense as a comedic thriller, and therefore limited in potential that still isn't all that thoroughly explored. I don't know if the film is so much lazy as much as its interpretation of a story that is too intentionally thin for its own good is itself too intentionally thin for its own good, keeping you going as it drags its way to underwhelmingness, but ultimately reaching an improvable destination nonetheless. Of course, like the train it features, the film carries on, at least as decent, having its shortcomings, both natural and consequential, but also carrying plenty of strengths, both in its narrative and in its production value.
Well, there's not much production value to this minimalist film which is primarily isolated on a train, yet such a setting is mighty well-put together by Maurice Carter's, Albert Jullion's and Albert Whitlock's art direction, whose designs are dynamic enough to give you a certain sense of scale to this environment, tight enough to help immerse you, with the help of appealing cinematography by Jack E. Cox, as well as an appealing cast. Though underdeveloped, this film's character roster is, as I said earlier, pretty colorful, with dynamic and potentially memorable characters who are done about as much justice as they can be by across-the-board charismatic performances. Everyone boasts distinguished charm, and between the charm is chemistry that drives the interactions which in turn drive this narrative, whose effectiveness is anchored, but not defined by the performances, no matter how charismatic. No, what can make or break the engagement value of this lighthearted thriller is the efforts of Sidney Gilliat and Frank Launder, whose script is seriously underdeveloped, draggy and tonally uneven, shaking the film's momentum as both a comedy and a psychological drama, yet when the writing hits, it hits pretty hard in drawing memorable, if minimalist set pieces, and thoroughly clever humor. Even the more tense aspects of the film are handled reasonably well, with suspenseful subtlety that isn't flowed into from color especially organically, but highlights engagement value about as much as heights in comedic wit, at least on paper. When it comes to the final product, it's up to director Alfred Hitchcock to bring life to the script's own bite, limited though it may be, and while Hitchcock's dryness blands matters up more than it probably should on more than a few occasions, the thoughtfulness has enough sharpness to subtly draw you towards the style and substance of this comedic thriller. Again, I don't know if the film is so much lazy, as much as it's simply limp, ostensibly on purpose, and such an approach is too questionable for the final product to be memorable, but there's enough entertainment value to hold your attention, at least up to a point.
When it comes time to pull your own vanishing act, you leave a film whose natural narrative limitations are stressed enough by underdevelopment and glaring inconsistencies in tone and pacing to make the final product barely memorable, but while your time is being occupied by this affair, sharp production value, charismatic performances, clever writing and thoughtful direction make Alfred Hitchcock's "The Lady Vanishes" adequately entertaining, despite its questionable aspects.
2.5/5 - Fair
November 2, 2011
Watch it for free on online ;)