Sabotage: Hitchcock’s messy, moody London thriller

Should you bother?

If you like movies that feel a bit dusty and frantic, jump in. It’s definitely not for folks who get annoyed by plot holes or characters making questionable choices just to keep the story moving. It’s a messy ride, but it feels human in a way that modern, clean thrillers just don't.

Early Hitchcock is a weird beast. You can see him trying to figure out how to stretch a moment until it snaps, but he hadn't quite mastered the rhythm yet. Sometimes it works, like when the tension in the room gets so thick you want to reach through the screen. Other times, it’s just… well, a bit weird.

The whole thing feels like it was filmed in a basement that smells like old tobacco and rain. There’s this one sequence with the bomb—I won't say which one—where the editing feels like a heartbeat that’s skipping. You realize that he’s not trying to make a great movie here, he’s trying to trap you in a corner with a character who really shouldn't be doing what he’s doing.

Oscar Homolka is the star here, and he’s got this heavy, tired face that tells you everything you need to know without him saying a word. He’s supposed to be the bad guy, but you kind of just feel bad for him. It’s a strange balance.

Random thoughts from the back row:

• The cinema setting is meta as all get out, and honestly, a bit distracting.
• Some of the dialogue is so stiff it feels like it was written on a chalkboard.
• Why do characters in these 30s films always walk around with such weird, purposeful strides?
• There’s a scene near the end that is just so brutal, it caught me totally off guard. It’s not flashy, just sad.

Compared to a standard flick like Tom Sawyer, this thing is trying to be way more cynical. It’s not as polished as his later hits, but it has a jagged edge that’s actually kinda fun. It’s like watching a rough draft of a masterpiece.

The whole London atmosphere? It’s fake as anything, painted backdrops and all, but it has this charming, smoky vibe. You can almost feel the fog pressing against the glass. Don't go in expecting a logical masterpiece. Just go in for the mood, the shadows, and that classic Hitchcock habit of making you nervous about things that aren't even on screen yet.