The hotel maid is told to give room for two gentlemen boarders, but she is still allowed to change her clothes in that room. In one scene, she begins undressing in front of the men, and they leave the room out of decency. Nothing explicit is shown. She is wearing an underdress. Another time she comes in while the men are dressed only partially in pajamas.


A couple is spending an illicit weekend away from both of their spouses. Nothing explicit is shown but this relationship is alluded to in conversation.
There are awkward situations when the hotel personnel come into the suite where the girls are staying. The girls are seen in scanty lingerie, and there are many shots of their bare legs.


Film review:Translated by www.rabudo-ru.com


According to the director, the creative inspiration of this film comes from the story of an English woman who took her daughter to Paris in 1880. The mother and daughter stayed in a Paris Hotel. During this period, British women were seriously ill and had high fever. The doctor who came to diagnose found that she had a terrible infectious plague. The woman died shortly after she was taken to the hospital. In order to avoid the panic that the disclosure of the truth may cause the whole people and tourists in Paris, the doctor and the hotel took the excuse to spend their unwitting daughter and thoroughly cleaned and disinfected the guest room. After that, the daughter returned to find her mother. All the parties pretended to know nothing about what had happened, as if everything was completely from her daughter’s illusion. Finally, of course, the truth comes out. Hitchcock loved the anecdote. It not only became the inspiration of the film, but even moved almost intact to its popular TV series in the 1950s. The actor of the daughter in the play is the master’s own daughter Patricia Hitchcock (below, left)!

Different from the usual style of works that enter the suspense theme shortly after the opening, the plot of the first 20 minutes of the lady missing is almost irrelevant to the thriller suspense. Therefore, this start was accused by some people of being slightly delayed. However, a little analysis will show that this is not the case. From a dramatic point of view, it also plays a very important role in paving the way for the consistency and rationality of the characterization of the characters in the film. For example, the two British men who went to the game by train. They are not just the core of this extended opening comedy. At the same time, Hitchcock rationalized their motivation to admit meeting Mrs. Frye later on the train by showing their very ungenerous behavior (grabbing seats and hanging up others’ phone calls). Without this foreshadowing, it is obvious that the audience will question their refusal to cooperate. For another example, at the end of the opening, the flowerpot fell, which was supposed to kill the old lady but hurt the heroine by mistake. This plot arrangement not only echoes the old lady’s final identity as an agent, but also more importantly, it makes everyone have a reasonable excuse to doubt the heroine’s (even her own) obstinate behavior. When it comes to the rationality of motivation, the best thing in the film is the portrayal of cheating men and women. For these two people, Hitchcock did not need to give too much behavior bedding in the front inn. Because having an affair is not British, audiences all over the world know very well about this kind of relationship between men and women. Therefore, when the two of them brought the most intensive dramatic changes to the middle of the story (at first, the man denied knowing the old lady because he was afraid of exposure. Then, because she thought the scandal could widen the other party’s divorce, the woman admitted that she had seen it; finally, when the law found it impossible, she changed her mouth to deny it), the audience would not feel the slightest falsehood and farfetched. However, although the film is very successful in dealing with the consistency of character description and the rationality of plot, it is not flawless. The defection of the English woman pretending to be a nun seemed more or less deliberate.

The theme of the story involves transnational espionage crime, but the director Hitchcock does not involve any narrow nationalist mood in his role creation. The so-called bad guys, that is, those foreign spies, except that they occasionally show treachery on the surface, have hardly been excessively deliberately exaggerated and vilified. On the contrary, some traditional British gentlemen who should firmly occupy the side of justice have become the focus of satire and attack in the film. More interestingly, the moral or behavioral defects of these people are clearly divided into good and evil levels by the director. Moreover, in the ending of the film, people at different levels also get corresponding karma. For example, in Hitchcock’s view, the lawyer who engages in an affair and deceives women is the primary evil! So when he finally showed his ugly coward face, he was immediately killed with a merciless shot. In contrast, the two Englishmen who indulge in games and forget right and wrong are the objects that can be saved. Nevertheless, they should be punished to a certain extent. Among them, the elder must be shot and hung with lottery before he can repent! After the final train arrives at the station, what awaits them must also be the result of the cancellation of the game that they have been eager to see. As for the British woman wearing high-heeled shoes and fake decoration, despite her heroic performance of sacrificing herself to pull the switch, she got a small punishment because of the indiscriminate good and evil in front: she was shot in the leg! ha-ha. Of course, in the whole process, those Englishmen who always showed their good nature must be unharmed. Among them are the hero and heroine.

Hitchcock’s suspense film must have “McGovern”. The film’s “McGovern” is a piece of music containing intelligence codes. However, its final effect seems not as strong as that of Mr. memory on the thirty-nine steps. The hero forgot the tune because of the sudden drop of love, and the old lady’s piano sounded in the room? This happy ending is somewhat mediocre. In addition, the film even deliberately shows Hitchcock’s “McGovern” concept in the necessary line processing. When the old lady revealed her true identity and mission to the two young humanitarians, she said “this information is about two European countries”, but did not say which two.

The film also has a dialogue and a comic echo of Hitchcock’s own classic works three years ago. When the spy found that the patient had been switched and removed from the car. The three survived a scream in the box. Then the heroine said, “isn’t it a train whistle?” The hero replied “no! It must be a woman screaming”… This immediately reminds people of the famous paragraph “the maid found the body and cut it to the train whistle” in 39 steps.

Before the new wave of France reassessed a large number of early directors, including Hitchcock, with a new author theory, this film was often used by British film critics as a reference to criticize the style of Greek American works together with 39 steps. They believe that after entering Hollywood, the once the most talented director in Britain in the 1930s, his works have lost their lightness, humor and unrestrained imagination in the original local period. Of course, now it seems that this understanding is somewhat conservative and one-sided. Although Hollywood has many rules and regulations, and the American audience’s understanding and acceptance of films are obviously different from that of the European continent, these factors themselves are not enough to become a fundamental obstacle to the development of an overseas artist in Hollywood. In fact, what really determines the significance is the director’s own inherent artistic aesthetic concept. Although Hitchcock learned from the German Expressionism school in his early days, he was more keenly aware of the close relationship and interaction between the content, form, even Star benefits and audience psychology of the new art form of film. And successfully applied it to their own artistic creation. This undoubtedly coincides with Hollywood to some extent. On the contrary, the German director Franz Lang, who also lived in the United States in the 1930s because of avoiding the Nazis, was too deeply influenced by Brecht’s ideological system to fully understand and accept the Hollywood film concept dominated by Aristotle’s theory, which made it difficult for his works in the American period to reach the high level of his early works. Therefore, we can neither simply take Hollywood as the authoritative yardstick to measure the level of artists and their works, but also can not arbitrarily degrade the quality of their works just because so and so director adapted to the so-called Hollywood model. Both are unhealthy.

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