Starring-Jane Wyman, Marlene Dietrich, Michael Wilding
Scott’s Review #1,160
Reviewed July 9, 2021
Stage Fright (1950) is a British film directed by Alfred Hitchcock right before his American invasion.
The film feels like a hybrid British/American project with the leading lady, Jane Wyman, being American, but otherwise is set in London with many British actors.
Hitchcock mixes plenty of film noir influences with the typical thrills and suspense creating an excellent product that flies under the radar when matched against his other films.
Wyman is cast well as an attractive aspiring actress who works on her craft by going undercover to solve a mystery. There are Nancy Drew elements and it’s fun to watch Wyman, who would become Mrs. Ronald Reagan before he entered politics and later would become President of the United States.
She reportedly divorced him because she had little interest in entering the political spectrum by association.
The action gets off to a compelling start with two characters driving in a car in clear peril. Hitchcock loved driving scenes like these. It is learned that the police think actor Jonathan Cooper (Richard Todd) is a murderer, and now they’re on his tail.
He seeks shelter with his ex-girlfriend Eve (Wyman), who drives him to stay in hiding with her father, Commodore Gill (Alastair Sim).
He explains that it was his lover, the famous and snobbish actress Charlotte Inwood (Marlene Dietrich), who killed the victim (not coincidentally, her husband). Convinced Jonathan is innocent, Eve plays detective and assumes multiple disguises, slowly developing feelings for Detective Inspector, Wilfred O. Smith (Michael Wilding).
Once she becomes embroiled in a web of deception, she realizes that Shakespeare was right and that all the world is a stage.
Wyman is the Hitchcock brunette as opposed to his later fascination with the blonde bombshell. Therefore, her role is more sedate and astute than the sex appeal that would come with Hitchcock’s later characters.
Eve closely resembles the character of Charlie that Teresa Wright played in 1943’s Shadow of a Doubt. They are both astute and investigative with a mystery to unravel. Interestingly, they both fall for detectives.
All the glasses! Hitchcock’s fetish for women wearing glasses is on full display, especially with the character of Nellie, a cockney opportunist played by Kay Walsh. Look closely and one can spot several minor or background ladies sporting spectacles and even Eve dons a pair as a disguise.
Pat Hitchcock, the director’s daughter, plays a small role as she would in Strangers on a Train (1955) and Psycho (1960).
Speaking of Strangers on a Train, there are similarities to mention. Both involve a tit-for-tat exchange where one character is requested by another to kill someone in exchange for either a payoff or another form of motivation.
Marlene Dietrich is as sexy as ever in the pivotal role of Charlotte. She is self-centered, self-absorbed, and thoughtless, constantly mispronouncing Eve’s fictitious name and barely noticing that she is covering for her regular maid/dresser.
But is she evil and capable of killing her husband?
Stage Fright has a thrilling finale. In the climax, the audience finally finds out who has been telling the truth and who has been lying and what explanations are revealed. There is a pursuit, an attempted killing, and a shocking death by way of a falling safety curtain, in the theater naturally. Just what one would expect from a Hitchcock final act.
The focus on theatrical stage actors is a nice topic and adds to the existing drama as the implication of playing various roles comes into play big time. So is the prominence very early on of the Big Ben landmark in London and other location trimmings.
Stage Fright (1950) doesn’t get the love saved for other Hitchcock masterpieces and that’s a shame because the film is excellent.