Downhill (1928) B
Shot in the U.K., Hitchcock’s fourth feature, “Downhill,” was based on sketches by two actors, Ivor Novello, who had starred in the director’s former film, “The Lodger,” and Constance Collier, adapted to the screen by Eliot Stannard.>
In the .U.S., the film was released as “When Boys Leave Home.” “Downhill” is literally an exploration of downward social mobility and moral decline,
The film introduced a theme that would recur in Hitchcock’s future work, the shared guilt, or the transference of guilt from one person to another. An opening title states: “two boys made a pact of loyalty—and one kept it at a price.”
The plot concerns the black sheep of a prosperous family, who begins his downward spiral when he is expelled from school after protecting a friend from punishment, living up to their vow of loyalty and camaraderie.
Following several desultory adventures, Ivor Novello’s Roddy Berwick falls for and weds a faithless, decadent actress, who divests him of what little money he has and runs off with another man. Only when he is at his lowest is Roddy forgiven by his family.
Hitchcock was intrigued by the notion of how the innocence on one individual can become tainted by the guilt of another one. The same theme will be developed in “Shadow of a Doubt” and “Frenzy,” and most fully realized in “Strangers on a Train,” co-starring Farley Granger and Robert Walker.
Visually, the film conveys its central theme of decline and descent through the extensive use of staircases, with one striking image that depicts an escalator descending to the London underground, accompanied by a title card that says: “this is the quickest way to everything.”
Hitchcock is less successful when the plot forces the protagonist to go to France—Paris and Marseilles—though in the latter city, there’s an interesting hand-held camera sequence along the docks.
“Downhill” offers the director to reflect on and critique two prevalent institutions in his work: the rigid class structure of British society (manifest, among other things, in the snobbishness and respectability of the public schools system) and, more importantly, the world of the theater, with its reliance on masks, costumes, make-believe, role-playing, and illusions (and delusions)
Running time: 95 Minutes.
Directed by Alfred Hitchcock
Written by Eliot Stannard, based on the play by Constance Collier and Ivor Novello
Lillian Braithwaite as Lady Berwick
Violet Farebrother as the Poetess
Alf Goddard as the Swede
Barbara Gott as Mme. Michet
Ian Hunter as Archie
Robin Irvine as Tim Wakely
Leave a Reply
- Inside Llewyn Davis: Top Coens, Cannes Highlight
- Jimmy P. (Psychotherapy of Plains Indian)
- Fast & Furious 6: Thrilling Joyride
- Angelina Jolie Double Mastectomy–Talk of Cannes Film Fest
- Bling Ring, The
- Before Midnight: Hawke and Delpie at Mid-Age
- Stories We Tell
- Great Gatsby: Luhrmann’s Jazzy Spectacle
- Star Trek into Darkness: Solid Sequel
- Love Is All You Need: From Denmark Via Italy
- Kiss of the Damned: Oversexed Vampires