In Hitch's first full sound film I was wondering if it was bad mixing that results in scene where Herbert Marshall decides to get involved in the investigation over a rather too loud broadcast of 'Tristan and Isolde' which, like in a Buñuel, drowns out the dialogue. In fact it's a recurring trick, from the overly loud knocking which opens the film and (in tracking shot) wakes a load of residents, through a domestic scene drowned out by a child's piano practice, and finally in an amusing episode where Marshall's morning bed is invaded by a family replete with annoying crying baby. (There's his trademark car horn 'parps' too, I'm pleased to report.) It was almost as though Hitch said 'You wanted sound - you got sound. Annoying, isn't it?'
Film has plenty of other cinematic tricks up its sleeve as well, such as an expressionistic moment where a carpet seems to be fluid, the shadow of the gallows creeping up a wall, amusing inserts of food, and a subjective camera at each end of a long table interview scene. Plus rapid editing, and a jury scene which almost becomes a musical by Rufus Norris.
Acting, particularly by Marshall, good, including Edward Chapman and Phyllis Konstam (as husband and wife team involved), Norah Baring, Miles Mander, Esme Percy and Donald Calthrop.
Written by Hitch and Walter Mycroft and Alma, from the play 'Enter Sir John' by Clemence Dane and Helen Simpson. Shot by J.J. Cox and put together by Rene Marrison.
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