This project of mine may be like dating in a weird way. The 39 Steps is one of those movies where I can empirically recognize the quality, and intellectually I can appreciate the skill, but yet somehow…there’s no “x” factor that makes me swoon. Possibly because this is a thriller; I’m not a huge fan of that genre as a general rule.
I can appreciate the cleverer parts of the script, however – particularly that the woman who’s being put forth as the lead’s love interest actually doesn’t fall head over heels for him as quickly as she would have done in other films.
….But I’m getting ahead of myself a little.
The hero of our tale is Richard Hannay, a bloke in London on business who’s taking in the show at a music hall. During the performance, someone in the audience fires a gun, and in the ensuing panic, Hannay ends up thrown together with “Annabella Smith”, a beautiful and mysterious woman who takes one look at him when they’re safely outside and then informs him she’d like to come home with him. A bemused Hannay agrees – but when they get up to his room, Smith quickly tells him she wasn’t looking for a pickup. Instead, she explains, she is a secret agent, trying to stop a network of spies from smuggling RAF secrets out of the country. The gunshots in the theater were meant for her, and she had to escape.
Hannay is of course dubious – but then notices that there are a pair of men loitering on the sidewalk outside, staring up at his flat and trying to act a little too casual. Smith decides the safest thing is to try to get a few hours’ sleep and hope the lurkers eventually leave; but just in case, she tells Hannay a few basics in case anything happens to her: she needs to meet with a man in Scotland for further instructions, she doesn’t know exactly what the spies are trying to smuggle out of the country, and the head of the spy ring she’s trying to bring down is missing the tip of one of his little fingers. Okay, good to know.
…Especially when in the middle of the night, someone sneaks into Hannay’s flat and stabs Smith in the back. She manages to stagger into the living room – Hannay has gallantly taken the couch to let her have privacy in the bedroom – and she gasps out the name of the town in Scotland where her contact lives, begging him to make contact for her. Then she collapses, leaving Hannay with a dead spy in his living room and two more outside his door.
After slipping past the spies, Hannay hits the road and has nearly reached Scotland when he learns that he is under suspicion for killing Smith. Sharp-eyed policemen spot him on the train, and he is barely able to evade them, fleeing desperately across moors and bribing farmers for help – and then realizes that the spy ring that killed Smith is now after him as well.
Despite her spending the night in Hannay’s flat, Smith actually isn’t the love interest the film is trying to throw at Hannay. Instead, the film tries to hook him up with “Pamela” – a stranger Hannay briefly meets on the train while trying to escape police. He sees her sitting alone in a compartment, barges in, and apologetically says he’s desperate – then locks lips with her, in an attempt to hide his face from oncoming police. She understandably doesn’t take that well, pushes him away and tries to turn him over to the police.
Pamela then disappears for most of the rest of the film; then, much later, when Hannay is trying to bluff his way through making a political speech (it makes sense in context, trust me), Pamela just so happens to walk in, see him there, and fetch the police again. Except the men she fetches, unbeknownst to her, aren’t police, and insist that she should also come to the station too…
I’m afraid that Pamela’s chance presence at that political rally is one of the two plot wrinkles I had trouble with. The other came earlier, with Smith’s initial stabbing; any spy would have assumed she’d told Hannay something and killed him too, but they let him be. Wasn’t there a chance that someone was still in the apartment? Why weren’t they? I even pointed that out to Alex, who was watching this with me; he only said, enigmatically, that “those are very good questions to be asking.” They weren’t answered, though, which bothered me – I was expecting some kind of a double-cross Mission-Impossible thing that never came.
Another thing I was expecting, however, was for Hannay to engage in some kind of sex scene – and I was pleased to see that he didn’t. He and Pamela are forced into being fugitives together and ended up sharing a room in a wee Scottish inn, and all they do is sleep. Most likely the reason was because of the Hays Code – but it was downright refreshing to see that the most physically intimate Pamela and Hannay get is for his hand to rest on her knee, and even then it’s only an inadvertent thing because they are handcuffed together and she’s trying to take off her stockings. (Again – it makes sense in context.)
Speaking of handcuffed – I’m feeling a bit shackled not giving away the final twist, which I appreciated: the climactic scene where Hannay finally figures out what it is the spies are trying to smuggle out of the country, and more importantly, how. It’s a clever twist, but it would thoroughly be spoiled if I said anything. So I’ll say that if you see it…yeah, that’s a neat touch at the end, there, huh?
There are similar “neat touches” throughout the film – moments of gorgeous cinematography, clever bits of dialogue – all of which I can appreciate for their skill, even though they’re applied to a genre that I’m only lukewarm about. As dates go, it was okay.