Young and Innocent

Underappreciated early Hitchcock gem!

That zoom-to-reveal would be taught in every film class ever if it wasn't for the goddamn blackface, Hitchcock!

Wonderful and charming early Hitchcock, with the master's stunning directorial skills on full display (especially during the masterful zoom in to the eyes of a key character at the film's climax.) Entire cast is charming; film itself is one of the most blatantly hilarious of Hitchcock's work, with some delightfully eccentric touches.

"Young And Innocent" is a film Hitchcock apparently made with his eyes closed. The plot goes of course like this: a man who has been wrongly accused of murder tries to prove his innocence and teams up with a beautiful young girl. Still, it's fun to watch and has all the thrills you'd expect from a Hitch film.

Light hearted and whimsical, one of the best Hitchcock non thrillers. This movie moved at a fast pace and kept a smile on my face the entire time.

Enjoyable if less suspenseful than I had hoped for. Contains several interesting comical characters and some trademark action. Also has a rather extended cameo by Hitch(with camera in hand) early on.

Not one of Hitchcock's better efforts

Apart from the final scene, this is pretty forgettable, especially by Hitchcock standards. A very old-fashioned, standard Hollywood story, told in a very old-fashioned, standard way - again, until the final scene, with that iconic tracking shot. The party scene in the middle is pretty amusing though.

YOUNG AND INNOCENT is a bit of a lark with barely any attempt to hide the plot contrivances, and the climax involves the villain thoughtlessly (not malignantly) being disguised in blackface, but the script it works with is good fun, and it's the ultimate "wrong man" prototype (early on a character even uses the term). It's really most fascinating as a companion piece for REBECCA, featuring a prologue that may as well be introducing the latter as well.

85.00

85.000

The film with the crane shot revealing the true murderer in the climax, but actually so much more than just that. One of the very best brit Hitchcock flicks, filled with an amusing, offbeat sense of adventure -- it's evidently a road movie action romcom -- and lots of cracking both comic (birthday party the falsely charged and the constable's daughter can't get out of) and action set-pieces (bar brawl, car being sucked into a mine's big hole). Kinda underrated. Also, gotta love that old tramp.

Even a "trifling" Hitchcock is still better than a lot of other films. It's a pretty basic plot -- hey, is that an innocent man being caught up in the police machinery? -- and there's not a whole lot of suspense, other than wondering what the heck the killer's been doing the whole middle of the movie. Still, there's a lot of humor here, and it's a more "pure" romance than even in his later films. Fav lines: "She didn't know his name. He didn't know it himself, really!"

Yeah, it's another Hitchcock "wrong man" movie. Sure, he did a dozen of them, but who cares when he does them so well? This one came right after The 39 Steps and is very similar in structure, yet quite different as well. Good flick all around.

Vocês podem falar qualquer coisa sobre o Hitchcock, menos que suas personagens femininas não são maravilhosas. Ou que sua fase inglesa já não demonstrava o gênio que era. Fico até com remoroso de dar apenas quatro estrelas, pois este filme é um desbunde, apesar de não ser visto usualmente como tal. DVD Versátil A Arte de Alfred Hitchcock

78.500

The 1937 Hitchcock. Not one of his best, but it is a cute one. More sweet then a thrilling. Many amusing bits. The dumb cops, the café brawl, the garden gnome. Hitchcock really makes each scene memorable. Yet, for me it doesn't string all that well together. Feels like a movie with a selection of scenarios then a fully fletched continuous story. But they are quality moments! Derrick De Marney & Nova Pilbeam in the leads are really the lifeline in this movie. How their romance gradually grows.

Elegant and mild suspense from beginning to end.

Hitch elaborates upon a Josephine Tey story for another of his early snappishly paced, exceptionally acted thrillers. Although it pines for the nerve-shredding anticipation, the feverish exhilaration of The 39 Steps and The Lady Vanishes, this bridging piece between them has a more muted appeal that fulfills his intentions, and ours, practically as well.