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Reviews are below and continue in the comments…
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Juno and the Paycock (1930): This is an Irish film, and even in 1930 it does what a lot of Irish films do as a family-and-friends drama. It’s based on a play, after all. It’s hard to tell if the acting and the script are exactly good or bad because the characters are so firmly stock. This is not a major film. There are traces of Trouble With Harry, believe it or not, with the proximity of violence to daily life (this is sometimes a gangster/revolutionaries film), trying to put a fun face to death. But Juno’s final scene of genuine emotion, a moment of crisis of faith, elevates it to a stratosphere far above that other, godawful, film. This alone makes it one of Hitchcock’s most powerful, if abrupt, endings.
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Saboteur (1942): It hadn’t been that long since Sabotage— six years, but this one shares the same chase-’em-to-the-end breathlessness, updating the previous film with a 39 Steps-esque battle-ax romance, and a finale set atop a national landmark. Secret societies, a circus car, and heartless villains—it’s classic stuff. It may not be his most original plot, but the settings are, the acting is fine, and sometimes the remix is just as good. One of Hitch’s most underrated.
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REVIEWS CONTINUE IN THE COMMENTS (at Franklin, Tennessee)
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