Tema: Sir Alfred Hitchcock: revisando sus películas

Es que en el País Vasco decimos puyas y no pullas que además suena mejor, la verdad.

Y, sí, esa imagen de Madeleine Carroll con gafas y modestamente vestida nos recuerda al personaje encarnado por Joan Fontaine en SOSPECHA.

Yo no tengo mucho que añadir. Me gustó mucho, es una película muy bonita y su final parece muy diferente al de la anterior donde posan directamente a cámara. En ésta película hay muchos planos abiertos hasta que llega al tren, y de los pasillos el prota pasa a exteriores enormes y luego interiores de casas desconocidas que de una forma magistral muestran lo perdido que están los protas hasta que vuelven a sus barrios. Está muy bien la idea de que todo acaba donde empieza -rodeado de espectadores- pero quizás ese momento de eureka con el protagonista describiendo sus pensamientos mientras suena la música le restan... musicalidad, vamos, intensidad o fuerza audiovisual. Lo mismo cuando va a preguntar al policía de la estación o en otro par de ocasiones por ejemplo cuando los matones se ponen a describir que van a hacer sin ser conscientes que al que buscan puede estar donde están buscando y escucharles. Ignorando estos detalles, que no son fallos aunque un poco burdos, le dan cierto carácter humano incluso casi improvisado. Muy distinto a su etapa mas tardía que yo por lo menos recuerdo mas... sintética o milimétrica.

También escuché el audiocomentario de Criterion... No dice mucho pero la verdad es que es una película sencilla que funciona espléndidamente. Es de lejos su mejor película hasta la fecha. De alguna forma me recuerda a las de Mabuse, con aventura y misterio propiciando huecos para romance. Mirando la ficha me he dado cuenta que el Sr Memoria me sonaba de algo... Y es que sale en la encantadora Whisky galore que vi -y comenté en el otro hilo- muy recientemente. De hecho hablando de el personaje Sr Memoria, creo que al final parece entrar en trance. Como que le han entrenado a través de hipnosis. Un poco como en la mucho mas tardía Ipcress con Michael Cane. Y sinceramente creo que todo lo que hace Hitchcock no son McGuffins aunque el compañero insista. Por entonces igual Hitchcock buscaba excusas para darle dinamismo y mantener la trama viva de fondo arrastrando a sus personajes... pero existe alguna entrevista por entonces del director para saber cuando definió la palabreja mcguffin? Es que creo que el señor Memoria confiesa el diseño de una bomba o arma teniendo en cuenta que en la anterior ya mostraba señales de algo por llegar...

Como el film está dividido en bloques, mi valoración general también, y para ser rápidos, como siempre una estupenda introducción de muy alto nivel, seguido de un bloque ciertamente interesante el de la huída, para llegar a la obra total, cuando coinciden los dos protagonistas esposados, una parte copiada mil veces, donde parece ser el film origen el de Hitchcock (desconozco si hay algún film anterior con dicho elemento). Para calentar un poco el ambiente, recuerdo una poco conocida, "black mama, white mama", una blaxploitation la mar de entretenida.....y sexy claro.

Spoiler:

Introducción fantástica cno el jueguito del hombre memoria, con toques de humor inglés y un desenlace mucho más verosímil que su anterior film comentado aquí, y como ya nombré en la introducción, y no es que me gusta azotar (aún más) a "el hombre que sabía demasiado", pero la reacción al balazo en uno y en otro film es totalmente opuesto. Aquí, hay una reacción normal a ello, pánico total y estampida por parte de la gente por un par de balazos (sin víctima), en cambio en el otro, balazo con víctima y la genta tan tranquila y tan pancha, como si no hubiera pasado nada.

Después en la casa, la escena de la muerte de la agente, no me gusta, la encuentro forzada y teatral con demasiado subrayado, simplemente el hecho de que alguien suelte tales diálogos y de tal información a las puertas de la muerte, me parece forzar la máquina en exceso. Me recuerda en clave cachondeo a la intro de "Airbag" con la escena de las tortillas, el famoso "muero, muero" de el gran Pazos.

Spoiler:

El bloque de la huída, pues me parece muy entretenido con buen ritmo, pero no deja de ser un survival, son los matices los que le dan algo de diferenciación a este apartado, ya sea como bien comenta Alcaudón, las escenas del tren y el primer contacto entre los protas, o el jueguito de miradas lascivo en la granja en plena mesa. Repito, bloque de alto nivel, pero le falto algo, algo que viene inmediatamente después.....

....que no es otra cosa que la química ESPECTACULAR entre los dos actores, Donat y Carroll, ya en le discurso político de Donat es una excelente introducción al mejor bloque del film, y por ende, a los mejores momentos de esta revisión que he vivido, cuando la intriga y el suspense han ido de la mano con la comedia romántica, con esos brillantes tiras y afloja de la típica pareja que se rechaza pero al final acaban cediendo sea por H o por J, pero claro lo típico Hitchcock lo hace brillante, ejemplos, el juego de manitas con las esposas y el sobeteo espectacular con la excusa de las medias, con ese plano fijo, hacen que sea unas de las escenas más divertidas del film, y por ahora de su filmografía.....me ha encantado. Todo adornado con diálogos entre ellos, divertidos, punzantes e inteligentes. También brillante la escena donde la Carroll de desesposa con facilidad pasmosa, continuada con una breve escapada de 3-4 metros de duración, mientras los posaderos y los agentes están al acecho, suerte de la inteligencia de la mujer, como siempre!!!!

En cuanto al desenlace, y apunten bien, voy a hablar muy bien de "el hombre que sabía demasiado", a mi me parece mejor en este film (injustamente flagelado por Fletcher quizá) que en el comentado, me parece más redondo, aunque me gusta los finales circulares, y sobretodo los McGuffins, los de chocolate sobretodo, me parece algo precipitado como cierre, me ha sabido a poco, quizá un final o una secuencia final con el señor memoria algo más dilatada, yo pienso que a veces dilatar una escena para llegar al final le da mucho más punch a dicho final, que no una escena más corta....pero bueno también cuestión de hipotéticas sensaciones. Eso si el plano final, agarraditos y esposados, icónico y brillante.

Cerrando filas, para mi no es una obra maestra, eso si siempre se mantiene en un alto nivel, y si diría que es su mejor film hasta ahora, aunque quizá muy empatado con "the Lodger" y muy lejos de los demás.

Amigo, Fletcher, nos has puesto el póster de la versión de 1959...

Yo diría que EL HOMBRE QUE SABÍA DEMASIADO es una excelente película y que 39 ESCALONES es ya una obra maestra. Y lo es no sólo por las cualidades intrínsecas de la misma sino porque contiene el embrión de muchas de las películas que vendrán a continuación.

Iniciado por muchogris

Yo no tengo mucho que añadir. Me gustó mucho, es una película muy bonita y su final parece muy diferente al de la anterior donde posan directamente a cámara. En ésta película hay muchos planos abiertos hasta que llega al tren, y de los pasillos el prota pasa a exteriores enormes y luego interiores de casas desconocidas que de una forma magistral muestran lo perdido que están los protas hasta que vuelven a sus barrios. Está muy bien la idea de que todo acaba donde empieza -rodeado de espectadores- pero quizás ese momento de eureka con el protagonista describiendo sus pensamientos mientras suena la música le restan... musicalidad, vamos, intensidad o fuerza audiovisual. Lo mismo cuando va a preguntar al policía de la estación o en otro par de ocasiones por ejemplo cuando los matones se ponen a describir que van a hacer sin ser conscientes que al que buscan puede estar donde están buscando y escucharles. Ignorando estos detalles, que no son fallos aunque un poco burdos, le dan cierto carácter humano incluso casi improvisado. Muy distinto a su etapa mas tardía que yo por lo menos recuerdo mas... sintética o milimétrica.

También escuché el audiocomentario de Criterion... No dice mucho pero la verdad es que es una película sencilla que funciona espléndidamente. Es de lejos su mejor película hasta la fecha. De alguna forma me recuerda a las de Mabuse, con aventura y misterio propiciando huecos para romance. Mirando la ficha me he dado cuenta que el Sr Memoria me sonaba de algo... Y es que sale en la encantadora Whisky galore que vi -y comenté en el otro hilo- muy recientemente. De hecho hablando de el personaje Sr Memoria, creo que al final parece entrar en trance. Como que le han entrenado a través de hipnosis. Un poco como en la mucho mas tardía Ipcress con Michael Cane. Y sinceramente creo que todo lo que hace Hitchcock no son McGuffins aunque el compañero insista. Por entonces igual Hitchcock buscaba excusas para darle dinamismo y mantener la trama viva de fondo arrastrando a sus personajes... pero existe alguna entrevista por entonces del director para saber cuando definió la palabreja mcguffin? Es que creo que el señor Memoria confiesa el diseño de una bomba o arma teniendo en cuenta que en la anterior ya mostraba señales de algo por llegar...

De hecho creo que el término MacGuffin Hitchcock lo aplicó por primera vez comentando esta película. De hecho ese MacGuffin primigenio se refería a una anécdota que acontecía...

... en Escocia.

Si la memoria no me falla.

Iniciado por Alcaudón

Amigo, Fletcher, nos has puesto el póster de la versión de 1959...

Yo diría que EL HOMBRE QUE SABÍA DEMASIADO es una excelente película y que 39 ESCALONES es ya una obra maestra. Y lo es no sólo por las cualidades intrínsecas de la misma sino porque contiene el embrión de muchas de las películas que vendrán a continuación.

Editado, gracias compañero!!! es que me tengo que leer más!!!

Y aunque todavía tengo reciente en mis retinas (qué poético... ) el visionado de 39 ESCALONES ya he empezado a preparar la siguiente entrega del coleccionable, EL AGENTE SECRETO, que cómo sabiamente (as usual ) me rectificó el compañero mad dog earle no se basa en "El agente secreto" de Joseph Conrad (de la que tengo pendiente su lectura) - que en realidad es el sustrato de la siguiente película, SABOTAGE (inédita en salas comerciales en nuestro país) - sino en dos cuentos de la colección "Ashenden o el agente secreto" de W. Somerset Maugham.

Una película que además no recuerdo haber visto nunca pero que tiene, al menos, un buen reparto.

Eso sí, la copia no es para tirar cohetes.

Es increíble que un director como Hitchcock que siempre ha sido amado por el público y por la crítica (salvo sus últimas obras...) no tenga toda su obra inmaculadamente editada en ediciones restauradas y que sirvan de referencia a las futuras generaciones de cinéfilos.



Y tranquilos que la reseña no saldrá hasta mediados de la semana que viene así que tenéis tiempo para añadir vuestros comentarios.

Iniciado por Alcaudón

Es increíble que un director como Hitchcock que siempre ha sido amado por el público y por la crítica (salvo sus últimas obras...) no tenga toda su obra inmaculadamente editada en ediciones restauradas y que sirvan de referencia a las futuras generaciones de cinéfilos.

No es mi caso, que adoro Frenzy y Family Plot... , claro que si te refieres a Topaz...

[Definitivamente, después de Alcaudón, Alex y muchogris (y tomaszapa, que las mata callando), poca cosa me queda por decir. Pero, en fin, para que no se diga.]

39 escalones (The 39 Steps, 1935)



Basada en una novela del escritor escocés John Buchan del mismo título, publicada en 1915 por entregas (esa pulp fiction de la que hablábamos a raíz de El hombre que sabía demasiado; esta fue la primera de cinco novelas dedicadas a Richard Hannay), creo que coincidiremos (con la salvedad del vinagre que aporta Alex) en que se trata del primer film redondo (o casi) del maestro. Por supuesto hay detallitos que se pueden criticar (la entrada, demasiado teatral, de Annabella apuñalada en la habitación de Hannay; lo “fácil” de la huida de los protagonistas aprovechando la aparición de un rebaño de ovejas; el papel un tanto obtuso de la policía, etc.), pero esa ligereza es la que reivindica Hitchcock en su entrevista con Truffaut, dándole vuelta al concepto del “understatement”, concepto que señala como típicamente británico y que define como “la presentación en tono ligero de acontecimientos muy dramáticos”, algo que serviría para calificar la casi totalidad de la obra de Sir Alfred. Por eso quizá Hitchcock afirma haber sido muy influido por Buchan. Otro elemento a retener es ese carácter de narración por entregas de Buchan, que obliga a que cada capítulo te atrape, te ofrezca algún momento de tensión, te invite a leer la siguiente entrega. Si cambiamos “entrega” por “secuencia”, tenemos el patrón que Hitchcock aplicó a sus películas a lo largo de toda su dilatada carrera profesional.

Con guion firmado por Charles Bennet, Hitchcock introdujo varios momentos que no están contemplados en el relato (que tengo desde hace años pendiente de lectura en su versión en inglés: es muy corto, no llega a cien páginas, a ver si me animo), entre ellos dos de los más destacados: la noche que pasa Hannay en la granja escocesa y la figura de Mr. Memory (Alcaudón añade los personajes femeninos, y si lo dice Alcaudón va a misa). Otro elemento que queda fijado ya casi de manera canónica en este film es el famoso McGuffin hitchcockiano, en esta ocasión una sensible información militar que corre el peligro de caer en manos del enemigo (indeterminado, pero recordemos que estamos en 1935… o sea que la II Guerra Mundial se acerca; el original de Buchan situaba la acción, de manera coincidente, en los meses anteriores al estallido de la I Guerra Mundial).

Como bien se ha señalado, el film se estructura en bloques muy bien definidos, casi sin secuencias de transición. Me limitaré a destacar algún elemento de cada bloque.

La secuencia inicial, en el music hall, además de servir para conferir un carácter circular a la película (casi polanskianamente... o Polanski lo hacía hitchcockianamente), nos recuerda la predilección de Hitchcock por situar muchas de sus películas en ambientes teatrales, una forma de reforzar el carácter de representación, de ficción, de su cine, tan alejado, voluntariamente, de la realidad.





En ese último fotograma apreciamos algo característico de Hitchcock: presentar a sus protagonistas, a sus “héroes” (aquí Richard, muy bien interpretado por Robert Donat), de espaldas, algo que ya hemos visto en algunos de sus films (como en Number Seventeen)



y que tendrá su punto culminante en Notorious (supongo que no hace falta aclarar a quién pertenece esa nuca).



La confusión en el teatro introduce uno de esos momentos de comedia dentro del drama tan hitchcockianos, a pesar de los disparos. Además, hemos conocido a Mr. Memory, un personaje inolvidable, al parecer creación del propio director que cuenta a Truffaut que se inspiró en un personaje real llamado Datas.



El personaje de Annabella Smith, con su acento extranjero (era una actriz alemana, Lucie Mannheim), resulta un tanto macarrónico, pero una vez más adecuado al tipo de relato, pura pulp fiction. Su muerte (como ha destacado Alex, detalle que se lo serví en bandeja en uno de mis comentarios previos) resulta un tanto exagerada, además de inverosímil.



Pero ¡cuidado!, Hitchcock tenía una opinión muy particular sobre lo verosímil. Precisamente, a raíz del comentario con Truffaut de este film, afirma: “un crítico que me hable de verosimilitud es un tipo sin imaginación”, algo con lo que puedo estar de acuerdo, pero que completaría hablando del “verosímil fílmico”, es decir, que algo no tiene por qué resultar verosímil desde una perspectiva realista, si es verosímil dentro del contexto de lo que se cuenta. Es decir, la presencia del diablo nunca es verosímil, pero lo puede ser si el contexto es el de las sectas que lo invocan dentro del género de un film de terror. De todas maneras, los diálogos entre Annabella y Richard son brillantes y picarones para la época, como brillante, de alta comedia, es la secuencia en que nuestro héroe tiene que huir de su casa disfrazado de lechero.



Poco que añadir a todo lo dicho sobre el segmento ferroviario. Si acaso, el gusto por un efecto sonoro que utilizará en otras ocasiones. Cuando la probable mujer de la limpieza del piso de Richard descubre el cadáver de Annabella, su grito se confunde con el sonido del tren, en un fundido sonoro de gran eficacia y economía de medios.

Magnífica también la elipsis que nos lleva del tren a la zona rural escocesa mediante el contraste entre dos puentes (aun habrá otro puente que juegue un papel trascendental):




El segmento de la noche en la granja del puritano escocés es de lo mejor del film. Las miradas entre Richard y la esposa (espléndida Peggy Ashcroft) nos vuelven a mostrar la habilidad de Hitchcock para mezclar géneros: tensión, suspense, pero también cierto aire de comedia romántica.



Luego, en la persecución por la campiña, Hitchcock recurre a la aceleración de las imágenes y a un helicóptero demasiado falso (trucaje innecesario, a mi modo de ver, aunque quizá entonces resultase muy moderno).



En el bloque del encuentro de Richard con el villano, el profesor Jordan, destaca una vez más el buen hacer del director a la hora de caracterizar a sus “malos”. Jordan es encantador, amable y considerado (aunque le falta una falange del dedo meñique, ¿eh, muchogris?), lo que no le impide disparar sobre Richard (que, como ya se ha dicho, descubre de golpe que “la salvación está en la Biblia").

El meeting político en el que se introduce accidentalmente Richard, huyendo de la policía, es una más de las muchas secuencias que veremos en la obra de Hitchcock en que el protagonista se protege de sus perseguidores entre la gente, como ocurre en la subasta de Con la muerte en los talones. Hitchcock fue puliendo, perfeccionando, a lo largo de su carrera ciertas imágenes, ciertas secuencias, como se puede apreciar en el tramo final, tanto en el tiroteo en el London Palladium donde actúa Mr. Memory (y donde se representa una obra titulada “Crazy Month”), que nos remite a la secuencia del Albert Hall (aunque para mí es más ambiciosa la de El hombre que sabía demasiado),




como ese plano final de los nuevos amantes cogidos de la mano, que ya había ensayado en la conclusión de Skin Game.





Dejo para el final, aunque no me extenderé porque ya se ha comentado con detalle, la secuencia de Richard y Pamela (encantadora Madeleine Carroll) en la posada. Ese juego altamente erótico, con la mano de Richard esposada a la de ella, paseándose por las piernas de Madeleine, es soberbia.



No hace falta mostrar más para que la temperatura de la sala suba unos cuantos grados.

Al final, moribundo, Mr. Memory descubre el secreto que estaba detrás de toda la trama, el McGuffin, y cuando lo oímos resulta algo tan simple y banal, tan inverosímil, que refuerza precisamente su carácter de accesorio, de mero atrezo argumental.

La semana que viene, nuevo film sobre espías (o agentes ), de la mano de Somerset Maugham, y de nuevo con Madeleine Carroll y Peter Lorre, con bigotito mexicano (Alex, si el Abbott de El hombre que sabía demasiado te pareció estrafalario, el General lo es mucho más: habrá que vigilar su mano).

Iniciado por mad dog earle

No es mi caso, que adoro Frenzy y Family Plot... , claro que si te refieres a Topaz...

Para mí, Frenesí es la última gran obra de Hitchcock. Y además, creo que pudo hacer, dados los tiempos que eran, los 70, una película muy de la época: cruda, sin concesiones, con actores vulgares (entiéndase con rostros normales, o incluso afeados de manera consciente), etc...Perfecta en muchos sentidos y totalmente diferente a la suavidad y elegancia con que se había mostrado el director durante casi toda su carrera.

Aunque según cuenta Hitchcock en el libro de Truffaut el guión lo escribió él junto a Charles Bennett en los títulos de crédito se indica que el libreto pertenece a Alma Reville, la esposa del director, basado en una adaptación de Bennett de la novela (prepublicada por entregas - y no sabéis lo que me costó encontrar las fechas originales... -) de Buchan.

Estoy de acuerdo contigo en que el bloque que se desarrolla en la granja es uno de los más bellos no sólo de la película sino de toda la obra del director. Ecos distorsionados de THE FARMER'S WIFE...

El helicóptero que se me olvidó mencionar me parece más bien un autogiro y podríamos relacionarlo con el secreto sobre el que gira la trama.

El comentario sobre las películas postreras del director o sea, a partir de MARNIE, LA LADRONA (para mí una de sus mejores películas y, ciertamente, su obra maestra final), no expresa mi opinión sobre las mismas, todo lo contrario, sino el sentir de muchos críticos y aficionados. Así como CORTINA RASGADA me parece una película menor (debido sobre todo al grave error en el reparto) siempre he tenido especial querencia por TOPAZ, una película que todo el mundo parece despreciar (¿quizás - de nuevo - por el espantoso actor que da viva al protagonista?). Y FRENESÍ me parece formidable. Y LA TRAMA una bonita forma de cerrar una carrera irrepetible. Ese guiño final de Barbara Harris es algo más que un simple gesto de despedida.

Iniciado por Alcaudón

Aunque según cuenta Hitchcock en el libro de Truffaut el guión lo escribió él junto a Charles Bennett en los títulos de crédito se indica que el libreto pertenece a Alma Reville, la esposa del director, basado en una adaptación de Bennett de la novela (prepublicada por entregas - y no sabéis lo que me costó encontrar las fechas originales... -) de Buchan.

Más que el libreto, lo que dicen los títulos de crédito es que Alma Reville es la responsable de la "continuity", siendo Bennett el responsable de la adaptación y Jan Hay de los diálogos (magníficos, por cierto). Reconozco que el término "continuity" me parece un tanto ambiguo, pero creo que tiene más que ver con el concepto de "script" que con la elaboración del guion. En todo caso quien no aparece acreditado es Hitchcock, aunque, según cuenta a Truffaut, varias ideas fueron suyas. Ahora bien, ¡vaya usted a saber de quién es cada cosa!

Iniciado por Alcaudón

El helicóptero que se me olvidó mencionar me parece más bien un autogiro y podríamos relacionarlo con el secreto sobre el que gira la trama.

¡Qué me mareo! Sí, creo que se trata más bien de un autogiro, precursor del helicóptero, e inventado, según nos repetían machaconamente en la escuela de mi infancia, por un español: Juan de la Cierva.

Acerca del término "continuity":

https://gointothestory.blcklst.com/s...1-8419a5b9a28c

http://www.screenplayology.com/conte...style-use/1-1/

Bueno, esto daría para un doctorado. Deduzco que en esta fase de la historia del cine, la "continuity" vendría a ser un poner en orden, estructurar en formato cinematográfico, un material que seguramente constaría, en este caso, de una adaptación literaria (Bennet), unos diálogos (Jay) y las correspondientes indicaciones del director (Hitchcock), sin contar (o contando con) las del director de fotografía (Knowles). En resumen, una compleja labor que, probablemente, tenía más trascendencia de lo que parece indicar un término vago como este de "continuity".

Según la Wikipedia:

"A script supervisor (also called continuity supervisor) is a member of a film crew who oversees the continuity of the motion picture including wardrobe, props, set dressing, hair, makeup and the actions of the actors during a scene. The notes recorded by the script supervisor during the shooting of a scene are used to help the editor cut the scene. They are also responsible for keeping track of the film production unit's daily progress. The script supervisor credit typically appears in the closing credits of a motion picture and is listed on IMDb under miscellaneous crew, even though they play a crucial role in the shooting of a film."

Pero también:

"A screenplay, or script, is a written work by screenwriters for a film, television program or video game. These screenplays can be original works or adaptations from existing pieces of writing. In them, the movement, actions, expression and dialogues of the characters are also narrated. A screenplay written for television is also known as a teleplay."

De hecho, en otros films (me limito a la época sonora) Alma Reville aparece identificada como responsable del "Scenario" (en este caso, término inequívoco para designar el guion):

Waltzes from Vienna: "Scenario".



Number Seventeen: "Scenario".



Rich and Strange: "Scenario".



Skin Game: "Scenario".



Murder!: "Scenario".



Juno and the Paycock: "Scenario".




Sería interesante saber por qué se cambia el término "scenario" por "continuity" y qué diferencias implica, si es que las hay.

En esta página se puede leer el guión completo de la película:

https://www.scripts.com/script/the_39_steps_1707

Además te lo puedes descargar en PDF.

Eso sí, el guión NO es de John Buchan.

Desde luego. He empezado a leer la novela, y de momento no puede ser más diferente. Ya lo comentaré más adelante.

¿Hay alguna edición reciente de la novela o es una de esas antiguas difícil de encontrar?

Es una edición en inglés que compré hace tiempo de una editorial de Nueva York, Dover. Pero supongo que se puede encontrar traducción al castellano al menos en bibliotecas.

Aprovechando que esta semana toca EL AGENTE SECRETO (1936) me he comprado vía Amazon ESP el e-book de W. Somerset Maugham ("Ashenden o el agente secreto") en el que se basa la película. Bueno, en realidad, en dos cuentos del mismo, "El mexicano calvo" y "El traidor" y que dada su brevedad no tendré problema para leerlos antes de hacer la reseña de la película (que todavía no he visto) el miércoles o el jueves a más tardar.

Otra película, por cierto, que no recuerdo haber visto nunca.

De la siguiente, SABOTAJE (1936), tengo la novela original de Joseph Conrad ("El agente secreto" - de ahí la confusión entre la película anterior y ésta) pero no sé si me dará tiempo a leerla para entonces dado que Conrad es un escritor muy bueno pero un tanto... espeso.

De esta novela hay múltiples ediciones. Por ejemplo:

Yo la de Somerset Maugham no la he leído y renuncio a hacerlo para este visionado, bastante ocupado me tiene esa "The Thirty-nine Steps" de Buchan, escrita en un inglés que se me atraganta a cada paso. La de Joseph Conrad la leí hace mucho tiempo en una edición en catalán de Edicions 62. La época en que se sitúa la acción es muy anterior a la de la película y el papel del "niño" en el film es una reinterpretación del de un joven con cierta discapacidad mental. Por supuesto, no hay sala de cine, sino una tienda. No sé si me animaré a releerla.

Si alguien quiere adelantar trabajo aquí tenéis el guión original de la película:

Spoiler:

It isn't often that a soldier
dies in his bed these days.
No, Sir. No such luck, Sir.
Pretty sudden, wasn't it?
A chill killed him off suddenly.
He was as fit as you and I when
he came home on leave.
Well, there's one thing.
Brodie the novelist will be
remembered...
...when half the brave soldiers
of the War have been forgotten.
I wouldn't be surprised, Sir.
No, no. It's all right.
By the way, when is the funeral?
Tomorrow, Sir. Very quietly.
In the country.
Good morning.
- Good morning.
Good bye, Sir.
- Good bye.
So long, girls. You'll be in the
work of caring for our men.
Red Cross... Missions... what not.
Come in.
What's the meaning of all this?
Who are you?
Giving a soldier the sad news.
Look here, Sir...
I don't even know your name.
"You can call me R."
R ex-comission?
"No, R for rhododendron."
Have a good crossing from France?
Excellent, thank you. Until I
found out I was dead.
Very sad. Casualties have been
very heavy lately.
Look here. Have you seen this?
What's the explanation of that?
Well, the explanation of that is
this.
What does that mean?
We can't advance in Palestine
Page 2/39
till the Arabs are behind us.
We're not quite sure, is that it?
When the censor snips up to this
extent, it seems pretty critical.
Listen, I don't see...
And you won't see it if you keep
on talking.
Germany is making every effort at
the moment to buy up the Arabs.
Do you love your Country?
Well, I just died for it.
You can't guess why?
I suppose I'm waiting for you to
tell me.
The raids always upset the fish.
Never know what to do with them.
Here are your passports.
One British, one American.
You have a reputation of being a
true observer of life, Ashenden.
Ashenden, me?
Yes. You.
The late Mr. Brodie was much too
well known for our purposes.
Hey, where are you driving at?
Ashenden's going to Switzerland
to find a German agent who's...
...leaving for Arabia shortly via
Constantinople.
Description?
- None.
Well, that's helpful.
But your predecessor... Is so...
In his last message he said he
"was staying at the Excelsior."
I want you to go there.
Here's the man playing for both
sides who may help you find him.
And when I've found him?
That sounded just like a pistol
shot, didn't it?
Report to me and you'll be given
further instructions.
I see.
Page 3/39
We have to be allowed to reach
Constantinople?
Precisely. I like a man who makes
quick decisions.
Tonight a car will take you to
Dover.
You will change to a boat which
you'll take across the Channel.
From there you'll go to
Switzerland by a small route.
Your assistant will be there
before you.
Well, I've an assistant, have I?
Yes. A very useful one.
"We call him Hairless Mexican."
- Why?
He has curls and isn't Mexican.
"You can call him General." He'll
appreciate the compliment.
You will see for yourself.
Where's the General?
He took to the cellar, Sir, when
the raid began.
He cannot have lost his nerve?
Mr. Ashenden is leaving shortly.
- Very well.
So long.
- Where's my cap?
If the Swiss know what you're up
to they'll have you in the jug.
That's right, I'll watch my step.
Dear, it's much safer down here
than upstairs, you know?
I'd rather be up with the bombs
than downstairs with some people.
Hello, General. I thought you
came down here to dodge the bomb.
"Mr. R, you should know better."
- Mr. Ashenden.
General Pompeliu Moctezuma de la
Bella del Conde y de Lonbus.
Excuse me, I have very important
business. See you in Switzerland.
Hello, dearie! Sweetie!
Page 4/39
Just a moment! I love you!
Lady guy?
- Not only ladies.
Now that you've met we won't
delay the departure any longer.
I better go see what he's up to.
So long.
Good Evening. You have a room for
me I believe.
Oh, Yes.
- My name's Ashenden.
I will see.
Ashenden. Yes, you are here.
Room 234 and 5.
Big room and sitting room.
Will you sign your name, please?
- Thank you.
Is there a private bathroom?
Certainly, Monsieur. Madame
Ashenden has insisted on that.
Who?
- Madame.
Your wife, Monsieur.
She arrived yesterday. You were
not expecting her so soon.
Well, not quite so soon.
It's a surprise for me isn't it?
- Indeed. Yes, Monsieur.
Mrs. Ashenden is looking well?
Madame looks great, Monsieur.
Oh, it is nice, isn't it?
I'll fill in this now.
I'll do it when I'm upstairs.
Room 234 and 5, you said?
- Yes, Monsieur.
I suppose Mrs. Ashenden has a
key?
Yes, Monsieur.
Shall I come up with you?
- No. I think I'll surprise her.
Have my luggage sent up, please.
- Certainly.
What were those numbers again?
234 and 5. I'll write them down.
Page 5/39
- Thank you very much.
There, there. It's all right.
I am so sorry. It was my fault.
It's quite all right.
No harm done.
Poor old boy.
Someone here tripped over him.
That's all dear. It's nothing.
Aren't you through that bath?
I'm coming out soon!
- Good news.
What are we going to do tomorrow?
"- Why are we?"
Aren't you going out with me?
Didn't you promise?
What about a nice private picnic
in the woods around here?
What about lunch in the dining
room downstairs?
Oh, lady, didn't I make any
better hit with you than that?
No. I'd respect a married woman.
I've only known you 24 hours.
Sure. That means in 48 you'll
know me twice as well.
And by the end of the week...
You're looking for anybody
around here?
I'm looking for my wife.
And by the end of the week, what?
A divorce, it looks like.
Are you Mr. Ashenden?
- Guilty.
Darling, you're here at last.
Angel, how well you're looking.
Delicious.
I hope you haven't been lonely.
No. This gentleman and I met in
the lounge yesterday, didn't we?
Yes. A good angel put us
together.
He's been most kind and
entertaining.
Mr. Demartin, isn't it?
Page 6/39
Sounds well the way you say it,
but it's really Robert Marvin.
Pleased to meet you Mr. Larkin.
How do you do, Mr. Ashendan?
Well, it's time for the triangle
to retire from family circle.
Exit... battle.
I wasn't expecting you so soon.
Who's our gallant?
- Jealous?
My good girl, there's no need to
play a part now.
Time to tell me who you are,
what your name is...
...and why you're acting as my
wife.
My name's Elsa Clarington. Answer
the other questions yourself.
"You mean that old crazy R has"
loaded you on me?
Yes. As you so elegantly put it.
- Sent you on the same job?
"Yes. R sent me and told me to"
join my husband. Mr. Ashenden.
So here I am, sweetie dear.
How do I know you're the person
you say you are?
Here's my passport.
That's better.
All right, stick them down there.
Anything else?
First, I'd like to see yours.
- Oh, that's better still.
All right. You're my true
and lawful husband.
I have a note for you.
It's in my bedroom.
Our bedroom.
- Mine. You sleep there.
Here it is.
Well, what does it say?
Do you mind if I come in?
If you don't mind my getting on
with today's work.
Page 7/39
No, I don't believe.
I had to work it out, it in code.
- I know.
You opened it?
- Of course I did, don't be silly.
The part that concern you says...
I'm making you a married man
to round off you new character.
What else does it say?
Your wife comes a fighting stock.
A regular fighting time factor.
I look to you to direct her in
the right channel.
Be as canuvial as possible.
"Yours, R."
"What does canuvial mean?"
Luxurious.
What does that mean?
Speak English.
Affectionate. In a big way.
So, what do you think of your new
husband?
I'm incredibly surprised.
- Thank you.
I've read your books for so many
years, I thought you were older.
I'm glad about it, that's all.
That's very kind of you.
What do you think of me?
I don't know. I'll tell you when
you finish putting on your face.
Why did you really take this job?
I wanted to do it.
Well, you might have been a nurse
or something.
Me? I'm no ministering Angel.
I'm in Switzerland for a thrill.
- Think I'm gonna give it to you?
No. You're the means to an end.
- The end? Being?
Excitement, Big risks, Danger.
Maybe being a little...
This sort of thing maybe not as
amusing as you think.
Page 8/39
Look, let's understand
each other.
Dozens of people have come here
to do something worthwhile...
...There's no use of you standing
there looking middle aged and...
...bleeding about safety...
- All right, all right.
How do we start?
"I suppose R told you why we're"
here for.
A little. He said you'd tell me
the rest.
Hello.
- How did you get here?
My dear friend. How do you do?
Ashenden! Where have you been all
the time? I haven't seen you...
Yes, yes. Take it easy, General.
How did you get in?
I was sitting on door all the
time, but...
...And I was knocking and barking
but you did not hear.
Too busy in company of beautiful
woman... Lady... Girl...
You know this man, do you?
I believe he's a swindler. He
followed me around the hotel...
...trying to show me some silly
trick with pennies.
Very nice trick.
Your wife?
- How do you know she's my wife?
How do I? Very simple.
Passports in table.
Each one inside each other one.
Just like no other.
- You know him?
Of course I do. He's one of our
colleagues, aren't you General?
General Pompeliu Moctezuma de la
Bella del Conde y de Lonbus...
...as I said before.
Page 9/39
I may as well tell you at once
that this lady is not my wife.
Then what?
She has been issued officially to
"me by our old man R."
Issued? What do you mean?
Issued like a passport?
"Or you mean given to you? "
This is too much.
And who has given her to you?
Will you tell me who?
"Maybe perhaps it's R!"
"This R Foul! Merde!"
Incompetent man!
It's awful! This is too much!
For you beautiful woman!
And what for me?! Nothing!
Nobody! Nothing!
Caramba! Caramba!
For you all this!
And nothing for me!
No, no, no.
I resign.
Brodie was a Bachelor, that's why
Ashenden has to be married.
It makes it much safer,
that's all.
This girl has been issued to me
as part as my disguise.
I resign.
She's nothing to me. I'm nothing
to her. Can't you understand?
Maybe perhaps this lie is true?
Well, of course it's true.
What do you mean?
Maybe in this case, affection of
beautiful lady are free for me?
Absolutely, as far as I'm
concerned.
Can't you do anything about it?
Do I look like I enjoy tricks?
General, no love making...
We can't afford to take risks.
The Swiss Police will be on us
Page 10/39
in no time.
We have to move on.
What have you done since you got
here, anyway?
I am too much of a gentleman to
tell this in front of lady.
I dare say.
Let me remind you we're here for
a purpose. We start tomorrow.
Our first job is in a village in
the mountains called Langenthal.
In Langenthal there's a church.
In that church we'll find the
"organist who R says is been..."
...working for the Germans but
is now on our side.
When we get in touch with him...
He'll put us on the track to
find the man we're after.
What do I do?
Nothing. You stay here and wait
in case there's a phone call.
Thank you. That should be a good
start.
Mind removing your friend so I
can go on with my dressing?
Go on, General.
Well?
- Well?
How does Mrs. Ashenden look now?
This has all been done for your
special benefit.
Very kind of you, I'm sure.
You're fond of yourself, aren't
you?
Married life has began.
All right. Shout about that as
much as you like.
You've a job to do, and part of
it is to keep it secret...
...no matter what happens.
What do we do?
Light three candles over there.
He'll see us in his mirror.
Page 11/39
Do you know any prayers?
Do not incite me, please.
I know some, so do you?
Put those back, you foul.
This floor makes my beautiful
legs very angry.
We better look out. He might be
waiting on the other side.
Strangled.
Nice work.
Neat. Very neat.
Someone did not want us to speak
to him.
That's what it looks like,
doesn't it?
Look.
- What's that?
Not so neat after all.
Big struggle before he died.
Me, better. Much better.
The man who owns this, is the man
who killed him.
Yes, Sir. He is also the man we
are looking for.
You're right. That's the motive.
One way of stopping a fellow's
mouth.
Look, someone's coming.
We'll have to stay up here for
hours!
I said, we shall have to stay up
here for hours!
But your wife shall wonder what
happened to her little General!
Let's do stay a little longer.
- All right.
I've always wanted to come to
Switzerland. The people are nice.
Yes, specially Charlie, there.
Hey, Fred...
Do you mind moving up a bit so we
can see the scenery?
Oh, no, don't. It's nice.
Are those your own teeth?
Page 12/39
Course they are. Don't be silly.
I bet yours aren't.
Well, I never thought you'd look.
Wait a minute.
Do you mind holing them for me?
You're so disgusting.
Look at that nose.
Bet if you squeezed it you'd get
a quarter of whiskey out of it.
Sam, or George... Whatever...
Give me some smoke. Will you?
Smoke.
Voulez-vous...
He's fond of you.
I was afraid of that.
No, you don't understand...
Cigar... Cigaruchen.
Compris.
What is this strange bond you
have over coachmen?
No mystery, lady. Just a well
equipped man in every language.
Bad language.
- Why you...
Man paralyzed when about to
strike woman.
What's the matter? Winned?
No, love.
- Again?
Why not?
Speaking of love...
You think your bow legged husband
would mind if I kissed you?
He's not bow legged!
I'll call the police!
He's too bow legged.
If you don't let me kiss you,
mind if I bite your adam's apple?
Speaking of your husband, if you
keep defending him like that...
...the idea might get around that
you love him.
I think I do.
How long has this been going on?
Page 13/39
- Since yesterday.
Yesterday? That's defying after
the way you flung yourself at me.
Oh, I'll call the Police...
Home, James. I mean, the casino.
Can you play the...
Diablos, she's not in dinning
room.
Where can she be?
I don't know.
What's the matter with you?
I'm still blind in this ear.
All right, all right. Calm down.
She'll probably here somewhere.
En Mrs. Ashenden this
evening?
Madame has gone with another
gentleman to the casino.
Telegram for you.
- Thank you.
First find men.
Then do the job.
Let's go to Casino to see nice
Mrs. Ashenden.
Can't you keep you mind on the
business? General this is urgent.
You are always jumping
conclusions.
Maybe nice Mrs. Ashenden has
found out something. Let's go.
We can't go in these clothes.
First we should go change.
Have you had a nice tip today?
- Yes, Sir.
Is that all I get?
- Yes, Sir.
Use your own money.
- I haven't any.
All right, then.
One.
I could put all those on two.
Cents. Two cents for twins.
That's what you and I gonna raise
when we settle down together.
Page 14/39
What do you say?
Don't be a fighter, honey.
Let's do this in a big way.
Look, that's the dog from the
hotel.
Don't you like him?
You know exactly I hate odd dogs.
Hello, darling.
- Hello, dear.
You must have had a long walk.
I felt rather bored in the hotel
so I came here with Mr. Marvin.
You don't mind, do you?
- Good heavens, no.
Good evening.
- Good evening.
Nine of them.
What do you think of that?
Thank heavens you've come to take
your dull wife of my hands.
I'm tired of talking words in one
syllable.
Don't know each other. Do you?
This is the gentleman I was
talking you about this morning.
General Pompeliu Moctezuma de la
Bella del Conde y de Lonbus.
Mind if I call you Charlie?
I mind.
Pardon me while I take up my
winnings.
Well?
"- Well, what?"
What happened?
Did you get any results?
The result of our day's work.
What does that mean?
- I can't tell you here.
That's a lot of buttons for
somebody.
You'll have to pay seven buttons,
won't you?
Whose button is it?
It's one of your's, isn't it?
Page 15/39
What?
I suppose it must be.
Would you kindly take that dog
out of here?
Nonsense. The dog was tied up.
Look, it broke the leash...
Why do you think the dog's in?
What is that suppose to mean?
It means that's our man.
You mean we may have to...
How thrilling.
I'm glad you think so.
But he's English.
Let me have another look at him.
There are rules that are quite...
- I don't mind about the rules.
He looks so harmless.
Monsieur, there's a censorship...
That dog's not doing any harm.
It couldn't bite anyone...
What's the trouble?
Seems that the sausage hound
busted the regulations.
Good heavens. How many of them?
- All of them, I guess.
Are these regulations governed by
the Geneva convention?
No, Monsieur, they are
regulations of the casino.
Have you got a copy of these
regulations?
There's no need.
They are well known.
He hasn't got a copy of
the rules.
Under no circumstances what so
ever...
Shall be allowed to have this dog
molested...
Unless you show us a copy of the
regulations governing the...
...transportation of livestock
in this city now.
Right. Now we'll do the whole
Page 16/39
thing over again.
Do you understand, Sir?
Now I'll go to my office.
And then, we shall see!
May I introduce you to...
- It has already been done...
My name's Keeper.
- Mine's Ashenden.
Remember my wife, don't you?
- I do.
There you are.
You know Mr. Keeper?
- How do you do?
Excuse me. Pardon me.
You also know Mr. Ashenden?
Yes. Me friend of every men and
beautiful wife.
That reminds me I haven't seen
my wife.
This calls for a celebration.
Anybody here on the wagon?
Well, I'm hardly dressed for
parties, Mr. Marvin.
I had to stop by in Langenthal...
In that case you're entitled to
the first drink.
Come along.
Did you hear? He was in same
village today that we were.
Yes, I've heard. Go on, talk to
him. I've got an idea.
This college boy is no simpatico.
Go along. Talk to him. Go on.
I thought you were starting your
long trip today.
No, no, no.
The day after tomorrow.
Oh, good.
My dear, I want you to meet Mr.
And Mrs. Ashenden.
My wife.
You've already met Mr. Marvin.
- Yes.
Look at your tie. It's terrible.
Page 17/39
Come here, let me show you.
Did you hear? They're leaving the
day after tomorrow.
Comprendo.
- This is what I want you to do.
Have you been away from England
long?
I have never been to England.
I have never before been away
from Germany.
Oh, I see.
I'll have a double Gin Tonic.
We've done discussing the matter,
General. That's quite enough!
It is not enough!
Me, just beginning!
Boy, how about a nice friendly
little drink?
Pull yourself together, General!
Don't make a scene! Shut up!
Me, not shut up!
What's the trouble?
- Me not shut up!
It doesn't matter. It's nothing.
It's alright. I'd like a Cognac.
It is not all right!
He insulted me in very big way!
He says this thing is nothing.
I say this thing is very big
something.
You bet your sweet little ass.
- General, really.
I make propuesta, that we should
climb mountain all together.
He says I'm not fit for mountain
climbing because...
...I only think of beautiful
women.
This is too much!
All I said was you couldn't go
climbing mountains and taking...
...beautiful women with you.
General, he was only joking.
Forget it.
Page 18/39
Don't be so touchy, General.
Me, touchy as much as I want.
I bet 5 English pounds that I can
climb mountain higher than you.
Don't be so silly.
- Go on Ashenden.
It's just a silly joke...
You see? You see? You see?
He's making the climbout!
You mean, the backdown.
That's what I said.
The bet is set.
All right, I'm on.
- Fine.
Ladies and gents, the fight's on.
All we need now is a mountain.
Anyone got a mountain?
Well, there's the Langenthal...
If you can take a guide with you.
There's a tricky bit, but...
About a thousand feet above the
center.
Where in town could we get
a guide?
Do you know somebody?
In fact, If I weren't going away
the day after tomorrow...
...I'd take you up myself.
That would have been orthodised.
What a pitty.
Of course, it can't be helped.
I suppose you couldn't make it
tomorrow, could you?
As I matter of fact, I could.
How about you, General? It would
mean breaking a date, right?
Why? What for? Is the mountain
climbing in middle of night?
Well, the guide is engaged.
While the boys are mobilizing,
how about a dance for you and me?
Sorry, I'm just a little old
fashion wife.
How about it?
Page 19/39
Excuse us, won't you?
You were wonderful.
What are you going to do?
Wasn't it marvellous the way he
fell for it?
I'm glad you enjoyed it anyway.
Do you thinks he suspects
anything?
No. He wouldn't be coming with us
if he did.
Ok, you better stay behind and
look after Mrs. Keeper.
Oh, why?
Somebody's got to keep her busy.
You could have a German
conversation with her.
But, why can't I go with you?
- Don't be absurd.
I see. I get to stay here with
an old housewife...
...while you go out and have
all the fun.
Listen, can I tell you something?
- What?
We aren't handling a fox,
we're handling a man.
An old man with a wife.
I know it's war, and it's our
job to do it...
...but it doesn't mean being
murderous.
Simple murder.
And all you can see in it is fun.
Shame.
Come here, my dear.
Come on, come to me, will you?
Don't you take note on that
funny dog there.
I suppose your husband's a very
good man.
Yes. When he is there...
always safe.
Is this your home?
It was our home.
Page 20/39
Where'd you live before the war?
If you please, we do not talk
about the War.
Will you sit down and we'll have
a little German conversation?
I'd love to.
How much German do you know?
I'm afraid, very little.
Suppose you say to me the days
of the week in German.
Samstag... Montag... Dienstag...
Mittwoch...
That is good. But pronounce the
words more, as so...
Samstag... Montag... Dienstag...
My mommy says have you room for
a new boy in your class.
No. Go away.
Pardon me, I was speaking to the
teacher.
Do you understand German,
Mr. Marvin?
Not a word.
But I speak it fluently.
I'll sit down here by this little
girl.
I promise to be good. I won't
pull your hair or anything.
Little girls shouldn't smoke
cigarettes in class.
Would you like to try it, please?
The days of the week in German.
Sure.
Samstag... Montag...
Di...
Your pronunciation is terrible.
Well, I thought so.
Look what it's done to the dog.
Hope we will all be back in time
for dinner.
What appetite you'll have,
General?
Sure, sure. We'll have big fun
when this thing is over.
Page 21/39
Now, perhaps you are going to an
hotel, and you ask for a room.
In what way would you say it?
I want a double room and bath for
myself and my beautiful wife.
This is my beautiful wife.
I speak to Mrs. Ashenden.
What would you say?
I would say...
I want a single room, please.
Well, the going's not too bad
so far, is it?
No. Pretty good, really.
I suppose this sort of work is
a child's play for you, General?
For me just second nature.
Look. We have a grand view.
- Oh, yes.
"As Englishmen say: "The better"
"the day, the better the deed."
Correct?
- Yes. Approximately.
He is always troubled when his
master is away.
He thinks of him all the time.
Please, do say that again.
There's no sense in doing it.
Did you get it?
So, you're out of luck.
You're forgetting instructions of
"Mr. R. You prepare, me finish."
Besides, what about my money for
this job?
What are you waiting for?
You two fellows tired?
He makes again the back down.
I mean, the climb up.
He's tired, he says.
Well, If you're tired, let's
cut it out.
Good.
- No, no, no.
This is only trick, for me
loosing my bet.
Page 22/39
Oh, you won your bet all right.
I'll pay you the money.
No, but there is my honour...
to make the climb.
Oh, go on and climb by yourself.
Stay back here with me, Keeper.
No. Please, come with me.
No, you stay here. He can carry
on alone.
No, I better go with him.
It's a bit trick up there.
Thank you.
You can see us reach the top from
that observatory over there.
Come on, General. I'll race you.
Nolly is being a very bad dog.
When your master comes home, I'll
tell him how you've behaved.
And then what will happen?
You stay there like a good dog.
Now, Mrs. Ashenden...
we'll go back to our lesson.
You think 20 marks is too much
for the room, so what do you say?
Oh, I don't know.
What does it matter?
Now you can see them easily.
- Thanks very much.
I don't understand.
He's never done this before.
Look out, Keeper. For God's sake!
You're very quiet tonight.
What's the matter?
We go to a nice place.
And this is how you behave.
Sorry. I apologize.
You must be terribly American,
I suppose.
General! How are you?!
Here we are. Good evening.
How have you been?
Good evening. How are you?
Heard the police a while ago.
Perfectamente. Perfectamente.
Page 23/39
Beautiful accident. Very sad, but
could not be helped.
Poor, gentlemen.
Didn't they found out anymore
about him?
Nothing important. Only picture
of his wife when she was young...
...and picture of little English
village, where he lived once.
I forgot.
I have telegram for you.
Waiting in hotel.
But me, gentleman.
I haven't opened it.
"It's from R."
I have to decode it.
Chocolate.
But the button...
Wrong man.
They're very much like these
buttons.
Are more common here than we
thought.
Lovely place Switzerland,
isn't it?
So gay, such charming people.
I've never met so many charming
people in one place.
I love them all.
Specially, General.
I think the General's so...
so funny, don't you?
Elsa... Please...
Hope you don't think I'm cruel,
but, I'd like to tell you how...
...How wonderful it's been
meeting you, Mr. Ashenden.
I often wondered what you were
like before. But now I know.
Think of that.
- Shut up.
I believe you're trying to stop
me. Please don't.
I've been terribly sincere about
Page 24/39
all this. In fact...
...I'm quite ashamed.
I'll tell you a secret...
I fell in love with you at first
sight.
I thought it could last.
I barely knew you.
I thought it would.
I've been so faithful to my love
for you...
I can't tell you how unkind
I've been to poor Marvin.
I'm glad it's over now.
You say... It's over.
I thought it couldnt have been,
but it has.
Aren't you glad?
It must be boring to be idolized.
Yes, I suppose I'm glad.
Obviously your able to treat this
thing as a job youre paid for.
I suppose you are paid a salary?
Yes. I'm doing it for money.
Didn't you know?
It isn't.
You know it isn't.
- Yes it is, I tell you!
I don't like murderers at close
quarters as much I expected.
Or murderers, for that matter.
I don't like them much either.
Don't make me laugh!
It hasn't been much fun to me
either lately.
I don't wonder.
I didn't kill him, you know?
You were there when it was done.
Yes. I was there all right.
Half a mile away.
At the end of a telescope.
Yes. It's quite true.
"Just on of those "Lone Ranger"
services.
That doesn't make it any better,
Page 25/39
does it?
I think you're beginning to find
that out, too.
Aren't you?
Don't cry. Have a cigarette.
Why can't we give it all up?
Would that make any difference?
- To us?
I thought you said it was all
over.
You know...
You weren't the only one that
crashed.
Come on. It's getting cold.
Let's go in.
There are times, Mrs. Ashenden...
It's almost a pleasure to be
alive.
Is this one, Mr. Ashenden?
I don't quite know yet. Just hold
this cup and I'll tell you.
Yes it is.
- Is it?
My coffee.
No, no, no. Business first.
Have you finished that letter of
resignation?
Yes, yes. It's on the table.
"Wonder what R'll say when he"
gets this.
Specially the post script.
What will happen when we get back
to England?
Nothing much.
"R" will have to find somebody to"
take my place. That's all.
Why? Doesn't matter much to you,
does it?
Answer the telephone.
Answer it yourself, lazy.
- Don't be rude.
Hello?
Is that the ugliest woman in the
world?
Page 26/39
Who is it?
- Your hated rival.
I have many hated rivals.
So, which one is it this time?
Marvin.
Yes, thanks. Much better.
Yes, all alone.
The neglected wife as usual.
Yes. You have my permission to
spill it.
That's very sudden and...
- Shattering.
...shattering for a girl.
I'm afraid I can't because I
promised my husband I'd...
...you better not let him hear
that.
"You can cut out that "Darby and"
"Jones" stuff."
You see, I know your husband.
And look what you're passing up.
Me! A cave man with a college
education.
What more do you want?
For heaven's sake.
Get off. You're bending my back.
Well, this is my last word.
Listen...
Pardon me while the brain reels.
Our first kiss...
...or am I just goofy?
Was that really you?
Yes, my love. Another it wasn't.
What's the idea?
Who have I been kissing?
Hold on. Here's your little Elsa.
Hello?
- Is that you at last?
Let's get this straight. Who've I
been kissing? You or the old man?
Very well. I'm satisfied.
Now get me:
This, Madame, is the end.
Page 27/39
So long... And good bye.
And may you have quintuplets.
I'm quite sorry about that chap.
Believe he's really fond of you.
Isn't anyone else?
Yes. Me.
Hello, General.
- Morning.
Come to join the celebration?
- Yes.
Making the morning husband and
wife exercises?
No. Not this time.
We're doing an article today.
One doesn't daily.
I intrude, yes?
No. None the least, General.
We've just come to a decision and
we're celebrating it, that's all.
Hurray.
We're going away from here
tomorrow.
I've resigned.
Resign. What does this word mean?
It means labour impossible.
Imagine. Could I resign?
Imagine... whole Army would do
this resign business.
I wouldn't do it if I were in the
Army.
Fighting in the front line is a
better job that this.
"If Mr. R, doesn't accept it,"
which he will certainly not...
I can't help that.
- Then, what?
I'm fed up with this whole thing.
It isn't as we've done any good
since we're here so far.
We aren't claimed bloodhounds
as of others.
What do you mean?
They can easily find somebody
better than us to take our place.
Page 28/39
Maybe for you, they can find.
Not for me.
Me, very well trained blackhound.
Me, first class blackhound.
Yes, I know all about that,
thank you.
Yes? Then it's good.
Come here. I'll tell you...
- What is it?
The reason why I'm here is of
very big important use.
Very best up to now...
- I dear say.
Directamente to the right man.
No making mistakes this time...
- No good.
Me promise, me do everything.
You only give advice.
Word of honour. I mean, promise.
Advice is all you get. Hurry up.
Tell me what's it about.
Don't go.
It's all right. I'll only go for
a few minutes.
It's all right.
I'll be back.
General, isn't that your room?
Yes, but here is my little baby's
room. We go here.
Querida! Queridsima! How have
you been all the time?
I brought you a friend of mine to
see you.
Why have you come into my
bedroom? I'm a nice girl.
So I see.
How do you do?
Isn't she sweet?
Please, sit down.
Your secretary, General...
I suppose.
No. Yes, my private secretaria.
Isn't she sweet?
Please, General. Tell me what's
Page 29/39
this all about.
"This is very much all about."
You wait and see.
We met last night and I played my
little penny game with her.
We get acquainted very quickly.
- Of course.
We also talked afterwards.
- I wonder what about.
Little conversation.
She tells me about her fianc.
What? Is he here, too?
- No, no, no.
He works in chocolate factory.
On the top floor.
But he earns 4 times as much as
any other clerk.
And here I come to the point.
I can't believe it.
You go and play...
find and seek with this. Yes?
Here, baby.
This chocolate factory isn't only
factory. It is also...
...you know what it is?
No. I don't know.
It's the big German spy post
office.
You mean, a clearing house for
information?
Yes. Exactly.
But secret. Very secret.
No one knows.
It's manager doesn't know.
Only 2 or 3 workmen know.
Including her fianc, I suppose.
Exactly.
Yesterday message gets through
which is very big sensation.
Message for someone.
You mean, the man we're after?
- Exactly.
Are you quite sure about that?
- Of course.
Page 30/39
The right man this time, really?
That's what I said.
Did he mentioned any names?
No he did not.
- Well, then what good is it?
But he knows.
And I'm quite sure he'll say
for small money amount.
Five thousand francs!
What? Are you crazy?
Didn't I give you already big
money amount for you?
One hundred francs!
- That was for me?
The other's for Carl.
Because he wants to get married.
Room 234, please.
Hello?
- Elsa, something's happened.
I have to go for a few hours.
Would you send someone with my
hat and coat?
We can easily still catch the
night train.
Did you get that?
- Yes.
I'm sorry, but I can't help it.
Yes, I must.
Haven't time to explain details.
I'll let you know as I get back.
I shan't be long, really.
You do understand, don't you?
- Yes.
I'll go find him and send him to
you.
Come along, here's our guide.
No, no. I'm Carl.
- I'm sorry.
Do you have the money?
What does it say?
My trunk.
Has it come down yet?
Yes, Madame.
But it has no label on.
Page 31/39
Where shall I send it to?
I don't know.
Could you send it to the station?
And in my name as it calls for?
- Yes, Madame.
And as my letters...
700, 800, 900, 1000.
Thank you, sir.
Hello, Elsa.
- You're leaving?
Yes.
Madame, this is the end.
Didn't you hear me?
I didn't think you meant it
seriously.
I have to leave, alright.
I just got a hurry up call back
home.
So if I don't check out now,
it's...
...goodbye to little old Europe.
This trip, anyway.
Where are you going?
To Greece, I think.
I was leaving this for you.
Something to remember me by.
Where are you going?
I haven't the faintest idea.
Do I look like I've been crying?
No, I don't think so.
Why? Anything wrong?
I'm leaving, too.
What about your husband?
I haven't one...
Anymore.
But only this morning you said...
- Please don't ask me to explain.
Sir, the car is waiting.
I could go with you, couldn't I?
But I couldn't... I mean...
Promise I won't get in the way...
or interfere with anything.
But couldn't... I mean, shouldn't
you go back to England.
Page 32/39
I couldn't do that.
They're still at war.
I'd be terrified.
Please, let me come. Won't you?
Only a few minutes left, Sir.
Please.
All right, come on.
Yes, Sir. Yes.
No, Sir.
Mrs. Ashenden just left, Sir.
Yes. She left the hotel.
Mr. Marvin, Sir?
He's gone, too.
Yes. To the railway station with
Madame.
What do you think?
She's gone.
- Is this funny?
Elsa's gone with him.
- No.
She must have known it after all.
She's the firstest class
blackhound of all of us.
She jumps ahead of us all
the time.
Run! To the railway station! Go!
Colonel Anderson.
Here you are.
- Here's your master.
Upside down.
- Sorry.
Sit down.
What's the matter? Feeling wet?
- No.
Look at that girl getting ahead
of them like that.
With any luck, Ashenden will get
him on the Greek front, here.
Here, before they go into Turkey.
What if Ashenden makes a mistake?
- We'll see about that.
Get the Army Headquarters on the
line when I get back.
You don't think it's dangerous
Page 33/39
for this man getting through?
I don't. Get me that line.
- Yes, Sir.
It's no use. We can't go on the
platform till the train it stops.
Me, idea. Maybe if I give money
to the son of a ranking file.
You know buck cheese?
I hate these people. They do
everything only for money.
Hello. Money? Buck cheese?
Come here.
One... Two...
More money. Come here.
More buck cheese. Come.
One... Two... Now.
What are you doing with this
knife? Me, General!
Me, go to station master!
You will see.
Hello! Station master!
I'm gonna get some cigarettes,
you better go in the department.
Have I time to get a magazine?
Yes.
Elsa! Elsa, darling!
You of all people.
I can't get out of here.
How are you, darling?
I'm so glad to find you.
How on Earth did you get here?
Why did you take that risk?
- I had to.
Could have let me know what you
were up to.
I couldn't bear it any longer.
When I found out you were going,
I... had to leave.
I'd come back without killing him
and I was anxious about you.
Anyway, thank heaven you're here.
Now we can forget it and go back.
No more killing.
No more Mexicans...
Page 34/39
Me, have permission!
Me, have permission! Here.
Everybody has permission!
Our beautiful detective.
How did you know Marvin was an
enemy agent?
You didn't know?
You must be crazy.
He fouled her, too.
- Where is he now?
He's gone to get some
cigarettes.
I hope he's not in the train
to Constantinople.
That's enemy territory.
I see him. He's just getting on.
But it's ridiculous. Impossible.
He's been so kind and friendly.
Yes, much too friendly.
See my instinct?
Me think it's him all the time.
Now we do our last job, then we
go to...
He must be foolish!
It's just a joke!
Wait here until I come back!
It's too dangerous for you!
I'm coming with you!
You think you'll be all right?
- Yes.
Come on, let's go before we have
company.
Elsa, when the man come with the
tickets...
I have the tickets.
You had?
Come away from that door.
I won't let you do it.
It's cold blooded murder.
No use to stop us now.
It's got to be done, that's all.
The enemy will be here in a few
minutes.
We must be in the front right
Page 35/39
now.
I've got to do it. It's my job.
You know that perfectly well.
I'll do anything in the world for
you, but I can't let you do this.
Don't you care about what I feel?
Of course I do. You know that.
- Then don't do it.
I've got to.
All right.
- What are you going to do?
I'll tell the first enemy soldier
who you are.
That's a pretty good sight.
You see them? Spies. Free today.
You, English?
No, American.
- Good.
I have lived Chicago town for
three years.
Where do you live?
Hollywood.
- Is that in America?
Sure.
- Fine.
Baby!
Now you can tell.
Please.
Elsa!
Why are you on this train?
I'm going to Constantinople.
Are you alone?
Yes.
Come along with me.
I better keep this handy.
You see, I don't trust you.
What are you doing on this train?
- I told you.
You're here on business.
"Old man R's business."
You're a spy, too. Aren't you?
I don't know what you're talking
about.
All right.
Page 36/39
I can place you now.
The lovely neglected wife.
And I fell for it.
I was sorry for you.
But I'm sorrier now.
Do you realise were you are?
You're in my country.
Enemy territory.
Where are your two friends?
On the train somewhere?
How would they get on this train?
Their headache, not mine.
But if they have...
They're dead men.
Why don't you have the train
searched?
Exactly what I'm going to do.
When you do, perhaps you'll
believe me.
I hope you're not bluffing me.
Why should I?
A clever man like you can guess.
- Guess, what?
Why I've trailed half way across
Europe with you.
Really?
How long has this been going on?
I think from the first day we
met.
Before the villain was unmasked?
From the very beginning.
How did you find out about me?
Ashenden told me.
- When?
A long time ago.
And it made no difference?
None.
You're either the biggest double
crossing liar I've ever met, or...
Congratulations.
For the punctuality of your Air
Force.
I think they've made a mistake.
Should have taken you off the
Page 37/39
train before they started this.
I told you I have nothing to do.
You know why I'm here.
"It's our old man R is making"
sure.
If friends fail, the enemy must
help in.
German spy protects British lady
from British bomb.
Very funny, isn't it?
Too bad I didn't love you.
I never did.
You know that, don't you?
Neat. Very neat.
Mrs. Ashenden, you use too much
lipstick.
Well, Gentlemen...
What's on your mind, General?
My dear friend. You have given us
big trouble for long time.
Wouldn't you tell us in
Switzerland?
Sorry, but I had other business
to attend to first.
Murdering the church's organist.
Unfortunately.
- Yes.
And now is your turn.
Yes. It looks like it.
I congratulate you all.
Specially, Madame.
Excellent.
Most convenient coincidence.
Heaven is always with the good
cause.
I think we could forego the
Thanksgiving service.
When does the shooting begin?
Elsa, please go outside.
No guns.
It's my job. You know.
Besides, you're new at this.
You go with Madame.
Our confront will be short.
Page 38/39
Call you back soon.
Wait a minute!
- What are you doing?
No violence, I said.
And I meant it.
I'd sooner see you dead than do.
It might be the end of our forces
it the East.
What difference does that make to
me?
His life, against the life of
thousands.
What do I care about them?
What do I care about him?
We don't get to have this on out
conscience!
Thank you.
Water.
I hope...

Ni Rayuela ni La casa de hojas están a la altura de semejante despliegue...

Iniciado por Alcaudón

siempre he tenido especial querencia por TOPAZ, una película que todo el mundo parece despreciar (¿quizás - de nuevo - por el espantoso actor que da viva al protagonista?).

La versión más larga disponible de "Topaz" mejora bastante la estrenada en Europa en su momento, pues rellena eficazmente algunos de los obvios agujeros de esta.

Siempre he pensado que el proceso de rodaje de "Topaz" (empezando por la ciertamente sorprendente elección de la novela en este punto de la carrera de Hitchcock) necesitaría un buen libro que estudiase los entresijos de su producción, del pulso con el estudio, de la selección de secuencias respecto al guión original, de las decisiones de montaje final, etc.

Creo que debió ser uno de los rodajes más problemáticos de su director y, probablemente, el más atípico, caracterizado por tensiones, cambios e improvisaciones de principio a fin. Lamentablemente la bibliografía al respecto es prácticamente nula pese a su evidente interés para cualquier interesado en la obra del director.