***SPOILER ALERT*** Hitchcock's 1935 version of 'The 39 Steps' played fast and loose with John Buchan's novel by introducing a plausible and intriguing love interest in a 1930s setting, a nerve-shredding escape on the Forth Rail Bridge and the quirky denouement of 'Mr Memory' at a Music Hall. These radical changes produced a fabulous movie, a pulsating chase thriller all played with great style and with real chemistry between the two leads, Robert Donat and Madeline Carroll.
This expensive, handsome looking TV production reverted to a plot rather closer to the book but retained little of Buchan's original spirit, pace or derring-do. It did, however, steal the love interest idea from Hitchcock but rather than a haughty bystander who gets caught up in events she turns out to be a spy who deliberately hooks up with the hero, Hannay... oh, and her uncle is the traitor... who she cannot shoot at the crucial moment... but an apparently dead German who couldn't shoot straight when conscious rises from the dead to deliver one excellent shot to kill her off just as the two leads finally kiss and she falls into the freezing loch.
But don't worry, folks! Feisty suffragette heroine spy woman inexplicably re-appears in a tacked-on coda, gazing enigmatically across at Hannay just as he sets off for the Western Front. Despite the fact they've both pledged undying love she doesn't bother she sends her dopey brother over rather than give her soul mate so much as a goodbye peck on the cheek. Then again, she's let him think she's dead for four months so why make a fuss now? Stiff upper lip and all that.
Also, the guy from 'Spooks' who played Hannay was charmless and wooden. The whole thing looked sumptuous - pretty high production values and wonderful Scottish scenery make that difficult to blow - but the direction was uninspired and the pacing leaden.
Drivel of the first order.
This expensive, handsome looking TV production reverted to a plot rather closer to the book but retained little of Buchan's original spirit, pace or derring-do. It did, however, steal the love interest idea from Hitchcock but rather than a haughty bystander who gets caught up in events she turns out to be a spy who deliberately hooks up with the hero, Hannay... oh, and her uncle is the traitor... who she cannot shoot at the crucial moment... but an apparently dead German who couldn't shoot straight when conscious rises from the dead to deliver one excellent shot to kill her off just as the two leads finally kiss and she falls into the freezing loch.
But don't worry, folks! Feisty suffragette heroine spy woman inexplicably re-appears in a tacked-on coda, gazing enigmatically across at Hannay just as he sets off for the Western Front. Despite the fact they've both pledged undying love she doesn't bother she sends her dopey brother over rather than give her soul mate so much as a goodbye peck on the cheek. Then again, she's let him think she's dead for four months so why make a fuss now? Stiff upper lip and all that.
Also, the guy from 'Spooks' who played Hannay was charmless and wooden. The whole thing looked sumptuous - pretty high production values and wonderful Scottish scenery make that difficult to blow - but the direction was uninspired and the pacing leaden.
Drivel of the first order.