Alma Reville Movies

Based on a novel by Robert Hichens, The Paradine Case concerns Anna Paradine (Alida Valli), on trial for the murder of her wealthy husband. British barrister Anthony Keane (played by the aggressively American Gregory Peck) takes on the case-and in the process, falls in love with Anna, despite being married himself. Despite his client's protests, Keane summons Anna's lover, unkempt stableman Andre Latour (Louis Jourdan), hoping to prove in court that Latour was the killer. Only after a series of stunning upsets does Keane realize that, for the first time in his career, he has allowed his heart to rule his head. In a typically perverse Hitchcockian development, the film's most unpleasant character, an autocratic, vindictive judge played by Charles Laughton, is one of the few who can see through Anna's facade. Hitchcock had wanted Greta Garbo to play Anna Paradine, and indeed a screen test was filmed, but Garbo ultimately declined. At the time of filming, Hitchcock was enamored with uninterrupted, 10-minute takes (later used to the extreme in Rope); thus, the Old Bailey courtroom set where much of the action takes place was designed to accommodate multiple cameras and elaborately conceived crane movements. Such techniques were cumbersome in 1947, and as a result the over-illuminated set ended up costing $70,000, jacking up the film's overall budget to a whopping $3 million (quite a pretty penny in those days). The film was a box-office disappointment, spelling the end of the always-rocky association between Alfred Hitchcock and producer David O. Selznick. ~ Hal Erickson, Rovi

Teresa Wright plays Charlie, a small-town high-schooler who enjoys a symbiotic relationship with her favorite uncle, also named Charlie (Joseph Cotten). When young Charlie "wills" that old Charlie pay a visit to her family, her wish comes true. Uncle Charlie is his usual charming self, but he seems a bit secretive and reserved at times. Too, his manner of speaking is curiously unsettling, especially when he brings up the subject of rich widows, whom he characterizes as "swine." When a pair of detectives (MacDonald Carey and Wallace Ford), posing as magazine writers, arrive in town and begin asking questions about Uncle Charlie, young Charlie's curiosity is aroused. Why, for example, has Uncle Charlie torn an article out of the evening newspaper? Rushing to the library, Young Charlie locates the missing item: the headline screams WHO IS THE MERRY WIDOW MURDERER? As the horrified Charlie reads on, the conclusion is inescapable: her beloved Uncle Charlie is a mass murderer, preying upon wealthy old women. And what happens next? Thornton Wilder, Sally Benson, and Alma Reville (Mrs. Hitchcock) based their screenplay on a story by Gordon McDowell, who in turn was inspired by real-life "Merry Widow Murderer" Earle Leonard Nelson. The casting, from stars to bit players, is impeccable; the best of the batch is Hume Cronyn, making his film debut as a wimpy murder-mystery aficionado. Lensed on location in Santa Rosa, California, The Shadow of a Doubt wasAlfred Hitchcock's favorite film. ~ Hal Erickson, Rovi

Alfred Hitchcock directed this disappointing misfire, memorable solely for the fact is that it is the final film from Hitchcock's early British period before he left for the Hollywood studio system and David O. Selznick. In the England of the 1800s, a group of ruthless smugglers, led by Sir Humphrey Pengallon (Charles Laughton), prey on ships by blacking out warning signals. When the ships crash on the rocks, the nefarious group loots the remains and kills the sailors. The plot kicks in when the beautiful orphan Mary Yelland (Maureen O'Hara) goes to visit her uncle Joss Merlyn (Leslie Banks) at a creepy hotel called the Jamaica Inn, the home of the gang of smugglers. Mary doesn't realize that Uncle Joss is one of them. Meanwhile, Lloyd's of London sends one of their ablest men, Jem Trahearne (Robert Newton), to investigate the recurring shipwrecks. Jem checks in to the Jamaica Inn, and when the coven of smugglers finds out who he is, they capture him and attempt to kill him. But Mary comes to his rescue and saves him. Through the inn, the smugglers try to recapture Jem -- along with Mary. Thrown together by dire circumstances, the two fall in love. Meanwhile, all the shenanigans occurring at the Jamaica Inn appear to be driving Pengallon insane. ~ Paul Brenner, Rovi

As early as 1937's Young and Innocent, Alfred Hitchcock was beginning to repeat himself, but audiences didn't mind so long as they were thoroughly entertaining-which they were, without fail. Derrick De Marney finds himself in a 39 Steps situation when he is wrongly accused of murder. While a fugitive from the law, De Marney is helped by heroine Nova Pilbeam, who three years earlier had played the adolescent kidnap victim in Hitchcock's The Man Who Knew Too Much. The obligatory "fish out of water" scene, in which the principals are briefly slowed down by a banal everyday event, occurs during a child's birthday party. The actual villain, whose identity is never in doubt (Hitchcock made thrillers, not mysteries) is played by George Curzon, who suffers from a twitching eye. Curzon's revelation during an elaborate nightclub sequence is a Hitchcockian tour de force, the sort of virtuoso sequence taken for granted in these days of flexible cameras and computer enhancement, but which in 1937 took a great deal of time, patience and talent to pull off. Released in the US as The Girl Was Young, Young and Innocent was based on a novel by Josephine Tey. ~ Hal Erickson, Rovi

Based on the novels of W. Somerset Maugham, The Secret Agent is the second in a trilogy of Alfred Hitchcock spy movies (along with The 39 Steps and Sabotage). Set during WWI, John Gielgud plays British novelist Edgar Brodie who discovers that a government agency has faked his own death. He is then given orders to go to Switzerland to kill a German agent. He goes by the name of Richard Ashenden and travels with secret agent Elsa Carrington (Madeleine Carroll), who poses as his wife. Richard joins professional killer the General (Peter Lorre) to look for clues, which leads them to suspect the tourist Caypor (Percy Marmont). Elsa occupies Caypor's wife, Florence Kahn, while Richard and the General attempt to complete their mission during a climbing trip in the Alps. It turns out he was the wrong man, so the spies reluctantly start another search for clues that leads them to the American charmer Robert Marvin (Robert Young). Unfortunately, he has just boarded a train to Greece with Elsa, so they have to get onboard and warn her. The situation is complicated with an air attack, where several key players meet their fate. The Secret Agent marked a rare instance where Hitchcock was pressured into changing the ending from the more grim original. ~ Andrea LeVasseur, Rovi

This classic British thriller was one of Alfred Hitchcock's first major international successes, and it introduced a number of the stylistic and thematic elements that became hallmarks of his later work. Richard Hannay (Robert Donat), a Canadian rancher on vacation in England, attends a music hall performance by "Mr. Memory" (Wylie Watson); in the midst of the show, shots ring out and Richard flees the theater. Moments later, a terrified woman (Lucie Mannheim) begs Richard to help her; back at his room, she tells him that she's a British spy whose life has been threatened by international agents waiting outside. Richard is certain that she's mad until she reappears at his door in the morning, near death with a knife in her back, a map in her hand, and muttering something about "39 Steps." Discovering that a group of thugs are indeed waiting outside, Richard slips away and takes the first train to the Scottish town on the dead woman's map. Richard learns that he's now wanted by the police for murder, and he must find a way to clear his name. He begins trying to do so with the help of a woman he meets en route, Pamela (Madeleine Carroll), who serves as his unwitting assistant, even after she tries to turn him in. The 39 Steps was later remade in 1959 and 1978 -- both without Hitchcock's participation. ~ Mark Deming, Rovi

Anxious to finish off his contract with British International Pictures, Alfred Hitchcock agreed to direct Waltzes from Vienna, a schmaltzy musical about "waltz king" Joseph Strauss and his son Joseph Jr. Edmund Gwenn stars as the elder Strauss, with Esmond Knight as his talented progeny. The crux of the film is the intense rivalry between the two Strausses, which is somehow resolved by the inaugural performance of Joseph Junior's "The Blue Danube." Displeased with his work in this film, Hitchcock at one point threw up his hands and confessed to his actors "I hate this sort of stuff. Melodrama is the only thing I can do." Hitch regarded Waltzes in Vienna and his silent Champagne as his worst films, and never directed anything like them again. ~ Hal Erickson, Rovi

This realistic British drama chronicles the lives of gypsies who live in barges on the Thames. The story begins when a beautiful young gypsy finds herself becoming attracted to a luxurious life after she is hired as a famous artist's mode. To ensure she can stay, the woman makes romantic overtures toward the painter. The man's fiancee is most displeased by this and romantic conflict ensues, culminating in the drowning of the hapless fiancee. ~ Sandra Brennan, Rovi

This atypical Alfred Hitchcock effort is a cautionary fable which lends credence to the old saw "Love flies out the door when money flies in the window." Joan Barry and Henry Kendall play a young married couple who suddenly come into an inheritance. Bored with their working-class existence, hero and heroine embark upon a world cruise, and it isn't long before Barry gets romantically involved with a landed-gentry gentleman. Meanwhile, Kendall is swept off his feet by a phony princess, who tricks him out of all his money. Broke and miserable, Barry and Kendall head home on a shabby cargo boat, only to find themselves in the middle of a shipwreck. The couple is rescued by a Chinese junk, where the solemn crew members dine on their pet cat. By the time Barry and Kendall have returned to their humble suburban lodgings, they've both learned the sagacity of remaining in their own back yard. Partly a sophisticated sex comedy, partly a grim seafaring melodrama, Rich and Strange had the negative effect of confusing the public in general and Hitchcock's fans in particular, and as a result the film, which remains one of Hitch's best early talkies, died at the box office. ~ Hal Erickson, Rovi

This uncharacteristic Alfred Hitchcock endeavor was adapted by Hitch and his wife, Alma Reville, from a play by John Galsworthy. The British countryside turns into an ideological battlefield when Hornblower (Edmund Gwenn), a wealthy, self-man tradesman, stakes his claim to a piece of valuable forest property controlled for literally centuries by the "landed gentry." The local squire (C.V. France) and his wife (Helen Haye) dig in their heels and refuse to acknowledge Hornblower's presence -- how dare he use mere money to challenge the rights of blood? Their genteel snobbery is every bit as obnoxious as Hornblower's brash effrontery, and the result is a film with virtually no heroes or villains whatever. Never in any future film did Hitchcock ever lobby so strong an attack on the smug implacability of the aristocracy -- perhaps wisely, since The Skin Game proved to be one of his least-successful films. ~ Hal Erickson, Rovi

Alfred Hitchcock's second talkie was a surprisingly static adaptation of the Sean O'Casey stage drama Juno and the Paycock. Set during the Irish "troubles" of the early 1920s, the film focuses on the trials and tribulations of a typical Dublin tenement family. Sara Allgood is brilliant as family matriarch Juno Boyle, who must contend with her bibulous, braggadocio husband, Captain Jack Boyle (Edward Chapman), known as the "paycock" because he always struts around like he owns the world. As Captain Jack carouses with his drinking buddy Joxer Daly (Sydney Morgan), Juno tries to keep her family together, a task that proves harder with each passing day, especially when daughter Mary (Kathleen O'Regan) is impregnated by her irresponsible boyfriend. Things take a tragic turn when Juno's weakling son Johnny (John Laurie), a member of the IRA, is shot as an informer by his own comrades. Sara Allgood's scenes after the death of her son are absolutely heart-wrenching, offering ample compensation for Hitchcock's plodding direction and the hopelessly hammy performance by Edward Chapman. Many of the supporting actors were drawn from the ranks of Dublin's Abbey Players, notably Barry Fitzgerald, making his film debut as The Orator. Juno and the Paycock was adapted for the screen by Hitchcock and his wife Alma Reville. ~ Hal Erickson, Rovi

In this romantic drama, a jewel thief fears that his mistress will leave him for the artist who is fixated with her. ~ Sandra Brennan, Rovi