Number Seventeen (1932)

Usually when one thinks about the master of suspense, Alfred Hitchcock, stories and images pop into our heads that are timeless and memorable. Images such as the pulling back of the shower curtain in Psycho, the attacks in The Birds, or Gary Cooper running from a bi-plane in North by Northwest. An image you would never remember as classic Hitchcock is of a drunk cockney British hobo opening his large coat to reveal a bejeweled necklace while wearing long underwear and a large smile. Doesn't sound very Hitchcock, does it? Well, it was in a picture of his, despite his not wanting to produce the film. Number Seventeen would be a strange divergence for Hitchcock in his days producing films in his home country. The picture would upset him, triggering him to change studios, moving him one step closer to being brought to the states and his many classics he know him for during his long career.

Number Seventeen is a mystery/thriller about a gathering of criminals in a safe house as they attempt to flee England after a jewel robbery, all the while a detective tries to piece together the true identities of the many individuals that randomly show up for this escape, capped with a thrilling train chase. The story starts off with a passing detective (John Stuart) as he happens on a mysterious house (house address No. 17, look we have your title!) in which he discovers a corpse and a homeless man (Leon M. Lion). In trying to figure out what happened with this dead body, many individuals begin showing up giving obviously fake identities. It is the middle of the night mind you, visitors don't usually show up at 12:30am. In the time the "guests" show up the body goes missing and we discover that there was a jewel robbery earlier that day. The guests are the thieves and are trying to catch the train of the nearby station to flee the country and escape the law. The train would be thrillingly pursued to a climatic crash at the docks. In the final moments following the crash we discover the identities of the heroes and villains as justice is served.

To begin explaining this picture it must be said, yes this is in fact and very confusing story with characters and plot points going every which way and makes very little sense, creating a rather confusing and uninspiring picture. The story, based off a successful novel and play which was their main marketing point, was to be a suspense filled drama about false identities and a mystery case of stolen riches. As the picture was to progress the pieces slowly come together with a splash of revelation at the very end. This story structure would make for a fine picture idea, but Hitchcock in this case struggled with it. The characters were not well drawn out, suffering from an overall lack of fleshing out motivation as they seem to change their actions with not reason other than to shack up the plot written in by the authors. Hitchcock would mix in some British humor as well, which a modern audience would not at all understand and does not entertain. The film is difficult to watch and understand making for a poor picture for most, but does please a select few.

The history of the picture is not a bright one. Hitchcock did not want to make this film, he wanted to make a picture called "London Wall," but his studio producer refused and ordered him to direct Number Seventeen. Hitchcock felt the story was full of cliques, but did what he was told. It would be Hitchcock's last credit as a writer (co-writer in this case), though he did have creative control over story in many of his future works. He would take this story and make it a comedic thriller, perhaps to bring a bit more entertainment to the table to some audiences. The picture was receive very poorly as hard to follow, and time would only make the picture look worse. Hitchcock declared the film, years later, as a disaster and was deeply disappointed by the project altogether. The lack of success for the picture led it to being neglected through time as the film print and audio have not been well preserved for modern audiences to view. Perhaps that is for the best.

The experience Hitchcock had with Number Seventeen would lead him to leave British International Pictures, the studio he was with for five years. He would move on the Gaumont British Pictures were he would produce some of his best works in England before America came calling. The rest is well documented. To watch Number Seventeen one must posses a keen eye and ear along with patience. We do see aspects of Hitchcock's recognizable creativity with his use of stairways and shadows, as well as, creative studio shooting to recreate outdoor environment. This point in his career would be a time of transition. Though not a must see at all, if one wants to watch a younger, and possibly more frustrated, Hitchcock work then watch Number Seventeen.