Sexyloutak Absolutely the worst movie.

Roman Sampson One of the most extraordinary films you will see this year. Take that as you want.

Hattie I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Phillipa Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Danielle De Colombie Tight and delicious. Everything matters and nothing matters. An amazing commercial eye without detracting from the poetry. Poetry? Yes poetry. Robert Donat was one of the best actors of his generation - I wonder why he's not better known. Maybe he will be rediscovered. The 39 Steps, The Winslow Boy, Goodbye Mr Chips just to name 3 of his spectacular performances. Madeleine Carroll is perfect as an early, classy and icy Hitchcock blonde. The coupling of Donat and Carroll has all the signature traits of the Master and it's downright irresistible. Not to be missed.

elvircorhodzic Hitchcock is certainly directed over 10 films to the "THE 39 STEPS". The director who promises, or simply he does not succeed to make a good movie. There are many reasons. Hitch persistently raises and cares for their style. This way of expression in the British film industry is not going well. Specific time. Average and commercial novel, a story loosely based on the novel of the same name, a solid budget and freedom to work were the guarantor of director's success.At the heart of the story is a murder around which interfere an innocent man, a beautiful girl, a lot of plot, mystery and conspiracy. The story is solid, at times illogical and very exciting. Hitchcock's convinced me that probability, logic and detailing are not the key to good film. This genre is needed speed, excitement and tension. I condemn some directors called "masters". Hitch is one of them. I will be more clear, the script is well written and composed, only some segments targeted set aside. Complications are in the right place, even though they appear out of nowhere and keep uncertainty at a high level. The characters are quite interesting, and each is special in its own way. Even those who appear in several scenes fit perfectly into the story.Robert Donat as Richard Hannay is a kind of tragic hero who accepts his fate and searches for truth. Donat's choice for leading actor is a hit. Madeleine Caroll (Pamela) is offensive and frightened female character. The change in her character that comes with the knowledge of the truth is impressive. It is more beautiful and charming.I think the director did not take into account the chemistry between the two main actors. Donat and Carroll made sure that it is. There are especially fine performances by John Laurie as the treacherous Scot who harbors the fugitive, Peggy Ashcroft as his sympathetic wife, Godfrey Tearle as the man with the missing finger, and Wylie Watson as the memory expert of the music halls, who proves to be the hub of the mystery. Hitchcock's magic at work.

gavin6942 A man in London tries to help a counterespionage agent. But when the agent is killed and the man stands accused, he must go on the run to both save himself and also stop a spy ring which is trying to steal top secret information.Of the four major film versions of the novel, Hitchcock's film has been the most acclaimed. In 1999, the British Film Institute ranked it the fourth best British film of the 20th century; In 2004, Total Film named it the 21st greatest British film of all time, and in 2011 named it the second greatest Best Book to Film Adaptation. There is really no denying that Hitchcock's version is best. Who else has even come close. The other honors are a bit harder to understand. This is not even Hitchcock's fourth best film, let alone the fourth best in all of British history...Where Hitchcock's previous film, "The Man Who Knew Too Much", had costs of £40,000, The 39 Steps cost nearly £60,000. Much of the extra money went to the star salaries for Robert Donat and Madeleine Carroll. This is ironic in retrospect. Few today (2015) know of Carroll or Donat, whereas Peter Lorre went on to become quite famous for his image and voice.

disinterested_spectator It is often said that in old movies, even husbands and wives had to sleep in twin beds, and if both got on the same bed, at least one foot of one person had to be on the floor. Actually, if that was a rule, it was never written down, because it is nowhere to be found in the Production Code. And if it was a rule, it was not followed in this 1935 movie, because an unmarried man and woman get in a double bed and spend the night with all four feet on the bed. Part of the reason may have to do with the fact that the movie was made in the United Kingdom. Maybe their censorship rules were different, and America just went along. Also, it probably helped that the man and woman are antagonistic toward each other, sleeping together only because of handcuffs, so that there is not the slightest suggestion that they will have sex with each other.At the end of the movie, Hannay calls out to Mr. Memory during a performance, asking, "What are the 39 steps?" to which Mr. Memory begins to answer before he is shot, thereby leading to the capture of the man who shot him, who heads the organization of spies. We have to wonder why Mr. Memory started answering the question. We suspect there are two reasons: first, Mr. Memory was a somewhat unwilling participant in the spy ring (blackmail?); and second, his pride in being able to answer any factual question that was put to him made him unable to say, "I don't know."But that started me thinking. This is not the only Hitchcock movie in which a villain blurts out the truth even though in so doing he provides information that could or does lead to his undoing. In "Spellbound" (1945), Constance (Ingrid Bergman) gets her colleague, Dr. Murchison (Leo G. Carroll), to help her figure out the meaning of a dream, which he does, thereby incriminating himself. In "Shadow of a Doubt" (1943), Uncle Charlie (Joseph Cotton), the Merry Widow murderer, vehemently expresses his disgust for foolish widows at the dinner table. In "Frenzy" (1972), Blaney (Jon Finch) is being hunted by the police for being the Necktie Strangler. He turns to Rusk (Barry Foster) for help, not realizing that Rusk himself is the Necktie Strangler. While they are talking, Rusk says with a hostile tone in his voice that some of these women who are raped and murdered get exactly what is coming to them, but Blaney is too distracted to notice.And come to think of it, I suppose we all have had moments when we blurted out something incriminating, when we could have simply kept our big mouths shut.