Category Archives: Dame May Whitty

1938 Films, Alfred Hitchcock, British, Dame May Whitty, Margaret Lockwood, Michael Redgrave, Thriller

The Lady Vanishes-1938

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The Lady Vanishes-1938

Director Alfred Hitchcock

Starring Margaret Lockwood, Michael Redgrave, Dame May Whitty

Scott’s Review #1,303

Reviewed September 30, 2022

Grade: A-

The Lady Vanishes (1938) is a film directed by Alfred Hitchcock that I’m embarrassed to admit that I’ve only seen once. Nonetheless, it resonated well with me after that sole viewing and its influence is palpable.

It’s a film made when Hitchcock was still making films in his native Britain before he took over Hollywood during the 1950s and 1960s. You may wonder why a dusty old film made in the 1930s and not a household name is important but The Lady Vanishes is.

If the film had not been made and more importantly not been a box-office success, films like Vertigo (1958), Psycho (1960), and The Birds (1963) might never have been made.

The Lady Vanishes followed three rather unsuccessful efforts by Hitchcock, whose success assured his new film career in America was a go.

The film is not as brilliant as the others mentioned but is pretty damned close. It serves as a blueprint for other Hitchcock films to come.

The train sequences alone conjure thoughts of Strangers on a Train (1951) and North by Northwest (1959) while the romance between the lead actors would become a staple of Hitchcock films.

Finally, the subdued but noticeable inclusion of gay characters, is forever a good debate among cinema lovers, especially Hitchcock fans, as to whether it is or isn’t showcased.

So, The Lady Vanishes is to be celebrated for its influence but also holds up well on its own two feet.

On a train headed for England, a group of travelers is delayed by a dangerous avalanche. Forced into a hotel in the lush European country, beautiful young Iris Henderson (Margaret Lockwood) befriends an elderly woman named Miss Froy (Dame May Whitty).

When the train resumes travel, Iris suffers a bout of unconsciousness after being hit by a potted plant and wakes to find the old woman has mysteriously disappeared. The other passengers vehemently deny that Miss Froy ever existed causing Iris to wonder if she has lost her marbles.

Iris determinedly begins to investigate the matter with the help of another traveler, Gilbert, (Michael Redgrave) as the pair begins to search the train to uncover clues. Naturally, the pair fall in love.

They uncover a mystery, political intrigue, and a who’s who of peculiar characters with secrets to keep hidden.

Lockwood and Redgrave have fantastic chemistry. It’s no secret that Hitchcock intends to bring them together even though Iris is to be married when she returns home. Both Lockwood and Redgrave are easy on the eyes which helps make them rootable.

The pacing of The Lady Vanishes is very good but nowhere as astounding as the sequence of events in North by Northwest, the film it most resembles. That’s why the rough cut analogy springs to mind- the film is a perfect warmup act to the 1959 masterpiece.

From an LGBTQ+ perspective, my money is on the characters of Charters and Caldicott. Ferocious cricket enthusiasts, whose only initial concern is to get back to England to see the last days of a Test match. The ‘friends’ proved so popular with audiences that they returned to the film Night Train to Munich 1940, also starring Lockwood.

Needless to say, the revelations at the end of The Lady Vanishes surprise and satisfy with political, and espionage overtones. Frequently, there is a McGuffin or a who cares about the plot element in Hitchcock films.

The plot shouldn’t be overthought in the film as the real fun is the trimmings that make the suspense so strong. The wit and snappy dialogue make the characters a pleasure to watch.

Providing strong character and stiff upper-lip British humor The Lady Vanishes (1938) is a terrific effort and is the most fun to watch to point out the many elements that make up the Hitchcock masterpieces.

1941 Films, Alfred Hitchcock, Cary Grant, Cedric Hardwicke, Dame May Whitty, Film noir, Joan Fontaine, Leo G. Carroll, Nigel Bruce, Thriller

Suspicion-1941

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Suspicion-1941

Director Alfred Hitchcock

Starring Cary Grant, Joan Fontaine

Scott’s Review #1,029

Reviewed June 3, 2020

Grade: B+

An early American effort by the master of suspense Alfred Hitchcock (1941), follows the Oscar-winning Rebecca (1940) with a similarly themed film.

A dazzling beauty (Joan Fontaine) is manipulated by her charming husband (Cary Grant) but is he gaslighting her and plotting her death or is it all in her mind? The puzzle unfolds with a sizzling final thirty minutes that eclipses the remainder of the film, which drags and plods along slowly.

Wealthy but insecure Lina McLaidlaw (Fontaine) meets handsome and irresponsible playboy Johnnie Aysgarth (Grant) on a train in England. He charms her into eloping despite the strong disapproval of her father, General McLaidlaw (Sir Cedric Hardwicke) who thinks Johnnie is after the family money.

After a lavish honeymoon and return to an extravagant new home, Lina discovers that Johnnie has no job and no income, habitually lives on borrowed money and intends to try to sponge off her father.

She talks him into getting a job, which he embezzles from.

Lina begins to think that not only is Johnnie after her money but intends to kill her. She becomes aware of his financial schemes and motivations, feeling conflicted over her love for him and her survival.

Events kick into high gear after a friend’s death, an insurance policy, and discussions with an author’s friend, Isobel Sedbusk (Auriol Lee), a writer of mystery novels, about untraceable poisons. A bizarre dinner conversation surrounding ways to get away with murder causes Lina to start unraveling.

Many suspensions of disbelief must be contained in frustrating measures throughout most of the film and a bothersome level of female mistreatment is to be endured.

Gnawing at me from the very first scene is the insecurity of Lina. She is gorgeous, rich, and intelligent so why does she feel, and is perceived even by her parents, as a lonely spinster certain to become an old maid?

Despite Hitchcock’s love of glasses on female characters, brandishing Lina with gawky bifocals hardly makes her an ugly duckling. Johnnie’s nickname “Monkeyface” is jarring and insulting.

The determination to not make Hollywood royalty Carey Grant too bad of a guy does not work. It feels like a weak effort to suddenly go in a different story direction to thwart the perception of a character as not a villain but someone to feel sympathetic toward.

Unclear is if this was Hitchcock’s decision or the mighty studio’s (my best guess would be the latter since Hitchcock was not afraid to take risks). The audience hardly has a chance to let their emotions marinate as the big reveal quickly culminates in the end credits rolling and the film concludes.

A significant positive to Spellbound is the hidden tidbits brewing beneath the main saga of the Hollywood glamour boy and girl (Grant and Fontaine).

A clever LGBTQ+ revelation among two supporting characters can be unearthed, decades before the terminology was even invented. Hitchcock loved his gay characters, who could not be openly gay, though the director did his best to offer the now-obvious idiosyncrasies.

Sophisticated Isobel seems to live alone in her quaint and lovely cottage, but during a dinner party, a blonde woman wearing a suit and tie, clearly butch, joins the conversation. As Isobel asks her to pour more wine, we realize she is hardly a servant but Isobel’s lesbian lover!

The stunning yet highly subtle revelation is prominent to eagle-eyed viewers and cagey enough to catch on. Besides these lovely ladies, an odd-looking male dinner guest wearing glasses and discussing murder novels is an interesting character though we see little of him.

The same can be said for Lina’s sophisticated mother, Mrs. Martha McLaidlaw (Dame May Whitty), and Lina and Johnnie’s maid, Ethel (Heather Angel). Both, playing small roles, add subtle delights to the film.

Suspicion (1941) is an early Hitchcock film, rarely mentioned among his best works. The film is a tough sell for its tedious pace, the inexplicable insecurity of the lead character, and an unfulfilling story conclusion.

The suspense and activity in the final act (mostly the stunning edge of the cliff car drive) promote the film to an above-average rating, but grander works were soon to follow in the decades ahead.

The most fun is noticing the delicious peculiarities of interesting supporting characters.

Oscar Nominations: 1 win-Outstanding Motion Picture, Best Actress-Joan Fontaine (won), Best Scoring of a Dramatic Picture

1942 Films, Best Picture Oscar Winners, Dame May Whitty, Drama, Greer Garson, Henry Travers, Romantic Drama, Teresa Wright, Walter Pidgeon, War, William Wyler

Mrs. Miniver-1942

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Mrs. Miniver-1942

Director William Wyler

Starring Greer Garson, Walter Pidgeon

Scott’s Review #841

Reviewed December 13, 2018

Grade: A-

Released in 1942 amid the horrific World War II, Mrs. Miniver (1942) was a smash hit, winning over audiences concerned with the troubled and uncertain times.

Decades later the film does not age as well as other similarly themed films, but still entertains and tells a good story with an important theme.

The film is nestled in the war drama genre with romance. The film won numerous Oscars the year of its release including Best Picture and star Greer Garson winning for Best Actress.

The story is told from the perspective of an affluent British family and the struggles they face to keep things together during growing peril. The focus mostly remains on an unassuming housewife, Kay Miniver (Garson).

The supporting players do much to flesh out the film with wonderful performances by Walter Pidgeon, Teresa Wright, and Henry Travers as Clem Miniver, Carol Beldon, and Mr. Ballard, respectively.

The direction by William Wyler is astounding and adds to the perfectly crafted ambiance and homey details.

The family lives a comfortable life in a whimsical village outside of London. Quite idealized, they own a large garden and a motorboat on the River Thames.

Along with Kay and Clem, their three children of varying ages and their housekeeper and cook reside with them. Besides the parents, the central couple is son Vin (Richard Ney) and the prominent Carol (Wright), the pair initially disagree on politics, but finally, fall madly in love.

As the soap-opera-style family situations continue the war grows closer and closer to their house.

As Mrs. Miniver progresses, Vin enlists in the army to assist with war efforts, a German Nazi breaks into the Miniver house, a central character dies, and bombs and planes crash.

Through it all, Kay remains stoic and takes the family through challenging situations adding much melodrama to the film. The woman’s journey and resolve to keep everything and everyone intact is at the core.

The film is mainly a family drama with the Minivers and the townspeople experiencing trials and tribulations. In this way, Mrs. Miniver risks being a one-trick pony, albeit an emotional and teary-eyed one.

The rich characteristics and the polished nature make the film more than it ought to be and the superlative cast and production values and the timeliness of the film’s release undoubtedly made it what it was in 1942.

In present times, however, Mrs. Miniver seems diminished in importance and relevance with a sappy and overly sentimental feel, World War II in the distant past, and several other wars come and gone.

Wyler carefully packaged the film to hit every emotion from the bombastic musical score to the proper English characters, to the comic relief housekeeper.

The film is a giant Hollywood production, but perhaps a bit too perfect to age with any zest or reason to watch more than once.

The film might be better remembered for its strong female lead. Told from Kay’s perspective, it was unusual in 1942 for a film (especially with a war theme) not to have the story from the male point of view. Still refreshing in 2018, this quality was downright groundbreaking at the time.

Kay stays strong and proud through the ravages of war that are closing in on her family with unbridled boldness and nary a simpering quality. An early champion for strong, female-driven characters and in a smaller way, Wright’s Carol is also a muscled female role model.

Mrs. Miniver (1942) is a well-crafted film of its time that displays lavish production values and strong characters worthy of admiration.

For a glimpse back into the 1940s capsule, especially for those fans of good, solid drama, the film is a major win. There are no major flaws to harp on, but the overall piece has not aged especially well and other similar films (Casablanca, 1942) are more memorable.

Oscar Nominations: 6 wins-Outstanding Motion Picture (won), Best Director-William Wyler (won), Best Actor-Walter Pidgeon, Best Actress-Greer Garson (won), Best Supporting Actor-Henry Travers, Best Supporting Actress-Teresa Wright (won), Dame May Whitty, Best Screenplay (won), Best Sound Recording, Best Cinematography, Black-and-White (won), Best Film Editing, Best Special Effects