Title: Sabotage

Year: 1936

Country: UK

Language: English

Genre: Thriller

Director: Alfred Hitchcock

Writers:

Charles Bennett

Ian Hay

Helen Simpson

based on Joseph Conrad’s novel THE SECRET AGENT

Music:

Hubert Bath

Jack Beaver

Louis Levy

Cinematography: Bernard Knowles

Cast:

Sylvia Sidney

Oskar Homolka

John Loder

Desmond Tester

William Dewhurst

Austin Trevor

Peter Bull

Martita Hunt

Torin Thatcher

Rating: 6.6/10

A Hitchcock thriller made in his UK years, SABOTAGE opens with its own definition in a dictionary, but there is little to be said apropos of the motivation behind the anarchists. It is an usual London night, all the razzle-dazzle is in full bloom, suddenly a blackout causes some commotion on the street and in the centre stage there is Bijou cinema, where patrons are baying for refund of their tickets, at the same time, its owner Mr. Verloc (Homolka) furtively sneaks back to his apartment upstairs, and pretends that he has never gone out when his wife (Sidney) surprisingly finds him on the bed.

So it seems that this time Mr. Hitchcock doesn’t play either the whodunit or the why-do-it card and clocking in a condensed 76-minute, the film even waive the possibility of a McGuffin to compel audience into the puzzle. Admittedly, there is no puzzle at all, Mr. Verloc is the said saboteur, whose blackout sabotage doesn’t quite hit the mark (even being pilloried by the media)and he is tasked to up the antes, it doesn’t take much persuasion for him to forgo his no-casualties-causing vow to collude with a professor (Dewhurst) who is excel at making“fireworks”. In a straightforward manner, the story also sidetracks in the incipient attractions between Ms. Verloc and Ted (Loder), who works in the greengrocery next to the cinema, but his real identity is an undercover sergeant of Scotland Yard, and secretly stakes out Mr. Verloc.

Ms. Verloc has no inking of her hubby’s insidious deal, time and again she tells Ted that Mr. Verloc has the most kind-hearted soul she has ever met, which is a farcically self-defeating statement because whoever has eyes can palpably detect something amiss inOskar Homolka’s hammy affectation with all those mannered scowls and insincere oratory, one might seriously wonder how dumb a woman could be if she fails to sense that from the man she shares a bed every night, that’s a disservice to Hitchcock’s heroine, beautiful but dumb, yet, she still deserves a miracle in the end.

Then there is that infamous“boy with a bomb” set piece, the story is a no-brainer, but the suspense never goes to seed under Hitchcock’s rein. One must admit it is a left-field coup-de-théatre (through a string of heightened montages) a first-time spectator barely can see it coming, Mr. Hitchcock really dares to corroborate that nothing is impossible on the silver screen, although in retrospect this only materializes as a flash in the pan because when he veers into the Hollywood thoroughfare, he will be inured to adhere to a more morally rigorous precept. A minor Hitchcock film can still be engaging, only its aftertaste tends to be a shade astringent.

referential points: Hitchcock’s THE LADY VANISHES (1938, 7.9/10), FOREIGN CORRESPONDENT (1940, 7.1/10), SHADOW OF A DOUBT (1943, 7.3/10).

這怕是希區(qū)柯克最殘缺的影片了吧。也許再多一個小時，再讓警察和女主相處時間更久一些，接吻看似也不那么唐突。

在餐桌上女主刺殺丈夫的那場戲中，攝影剪輯完美。希區(qū)柯克通過鳥籠及空著的座位再次提示了女主的弟弟已經(jīng)不復(fù)存在。女主拿起又放下的刀叉體現(xiàn)女主想殺了丈夫的躊躇。兩個人的特寫鏡頭表情錯愕，眼睛瞳孔放大，這一鏡給予了整部戲的驚人效果。