Mary

Alfred Hitchcock

T. alt.: Sir John Greift ein!. Sog.: dal romanzo Enter Sir John di Clemence Dane e Helen Simpson. Scen.: Alma Reville, Herbert Juttke, Georg C. Klaren. F.: Jack Cox. Scgf.: John Mead. Su.: Cecil V. Thornton. Int.: Alfred Abel (Sir John Menier), Olga Tschechowa (Mary Baring), Paul Graetz (Bobby Brown), Lotte Stein (Frau Brown), Ekkehard Arendt (Handel Fane), Jack Mylong-Münz (John Stuart), Louis Ralph (Bennet), Hermine Sterler (Miss Miller), Fritz Alberti (capo della giuria), Fritz Grossmann (Stevens), Lucie Euler (Frau Stevens), Harry Hardt (ispettore di polizia), Eugen Burg (detective), Miles Mander (marito della donna uccisa). Prod.: British International Pictures, Sud Films 35mm. D.: 82’. Bn. 

info_outline
T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

The German language version of Murder! shot back to back with a German cast. There was one exception, the multi-talent­ed Miles Mander who had played in Hitch­cock’s first film, The Pleasure Garden, who was comfortable enough in the Ger­man language to reprise his role as hus­band of the murdered woman. Hitchcock himself spoke enough German to direct but later confessed in an interview with Peter Bogdanovich that he was at a loss to put across the humour of the English ver­sion. It was a problem often encountered in production of the multi lingual films of the early 1930s, a last ditch attempt by the European studios to ally themselves against the might of Hollywood. One significant change was made in that the secret Handle Fane was concealing was not his mixed race but that he was, more prosaically, a convict. Several commenta­tors have assumed that Fane was coded as homosexual – this doesn’t sit logically with the fact that he was supposedly in love with Mary and the racial aspect is given much more force in the book – al­though it is an understandable interpreta­tion given the rather ‘camp’ performance of Esme Percy in the English version and by the character’s appearance in women’s clothing, in the farce at the beginning of the film and later in his ‘drag’ trapeze act.

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