Number Seventeen (Number 17) (1932)

Featured Audience Ratings

• Alexander D

  
  Good

• AJ V

  
  This was the worst Hitckcock movie I'd ever seen. The movie's quality is horrible, it's slow and boring, and the plot is really thin. I don't recommend watching this movie.

• William S

  
  "Coo blimey, if it ain't my lucky day! I'm a murderer, I'm a liar and now I'm a b-bathroom fitting!" Number Seventeen is criminally under-rated! Point out the pothole sized plot-holes, the toy-town special effects, ropey acting and wobbly camera and you… More
  "Coo blimey, if it ain't my lucky day! I'm a murderer, I'm a liar and now I'm a b-bathroom fitting!" Number Seventeen is criminally under-rated! Point out the pothole sized plot-holes, the toy-town special effects, ropey acting and wobbly camera and you are just missing the point (and I even wonder if cinema is for you?). Anyway, this IS 1932, so surely a moving camera, as opposed to the usual rigid static shots, is commendable and who wouldn't wobble carrying the equivalent of a small bungalow?? Either way, the 'clumsiness' only adds to the gleeful mayhem at play. However, 17 is meant as a comic parody of the spy story (but with a large dose of surreal craziness and the gleeful cackle of 'The Old Dark House' and 'The Cat and the Canary' thrown in for good measure). So it's not really meant to be taken as seriously as may be expected. It's also a formula that Hitch would make his own (the spy story as a send up of itself) and is now so familiar as a genre that it feels 'straight' yet is often screamingly camp (Bond anyone?). It is quite a surreal and odd little film for much of it's (short) length - for the first half of the film people seem to keep appearing and then disappearing again at such an alarming rate it's hard to keep up with who's who, but that's part of it's charm (even in the last few minutes, a lovely twist means still more identities are being revealed!). And, at just over an hour, it still manages to cram in many of the elements we have come to recognise as Hitchcockian: staircases (lots of them!), the mysterious 'bad' girl (who has to redeem herself), handcuffs and bondage, trains and chases on trains, bathrooms, moral ambiguity, people not being what they seem (villains? Heroes? erm... your guess is as good as mine) and probably the first very discernible macguffin (the necklace). When all is said and done, why the Hell should we care about the plot flaws and ropey acting when everyone is having such a lark - including the portly prodigy himself - quite literally like a big kid playing with his train set! I really do enjoy 17 more than the generally more revered Murder and Blackmail (so the acting in those films isn't ropey??). It's certainly no masterpiece but it's a lot of fun and nowhere near the dud it's always been dismissed as. A forgotten gem.

• Drew S

  
  I wouldn't call this a complete disaster, but I guess even the masters have to start somewhere...Hitchcock totally lost me on this one. Number 17 is full of atmosphere, has a neat setting, and bubbles with black-and-white charm, but the plot doesn't make any sense at all. I… More
  I wouldn't call this a complete disaster, but I guess even the masters have to start somewhere...Hitchcock totally lost me on this one. Number 17 is full of atmosphere, has a neat setting, and bubbles with black-and-white charm, but the plot doesn't make any sense at all. I had trouble hearing the characters because of the sound, which isn't really Hitchcock's fault, but it made the storyline even harder to follow. And the acting is ass. This was obviously just a fun little bauble for Hitchcock to kick around. He plays around a lot with light, shadow and sound in the movie; clearly honing his grasp of the atmospheric. I think I read somewhere that he made this movie just to fund Rich and Strange, and I believe it. Valuable only as a curio for die-hard Hitchcock fans.

• Cassandra M

  
  NUMBER SEVENTEEN is one of the very few films Alfred Hitchcock made that has aged poorly. It's bizarre to find a movie he made that doesn't improve on a second viewing; even JAMAICA INN and THE SKIN GAME get better the more you look at them. Here's an unfortunate… More
  NUMBER SEVENTEEN is one of the very few films Alfred Hitchcock made that has aged poorly. It's bizarre to find a movie he made that doesn't improve on a second viewing; even JAMAICA INN and THE SKIN GAME get better the more you look at them. Here's an unfortunate exception. While it doesn't lack merit as a rollicking little caper, the story is too confusing for the film to be enjoyed, and surprisingly enough the direction is clumsy and the whole thing ends up rather incoherent. There may be a reason for this. Hitchcock made this in a hurry to get to a project he was eager to work on, RICH AND STRANGE, one of his most offbeat and personal films (actually released before this one). As a result, this very short and very stagy little comedy/thriller feels like the work of someone who didn't really care. While this is something that rarely happens in his catalog as director, you can sense the same thing to a lesser extent in STAGE FRIGHT and THE SKIN GAME, yet the technical competence of the former and the fine source material and performances of the latter make those more fun and interesting to see than this. The real crime here is witnessing the failure of one of Hitch's only stabs at an old-dark-house mystery; it's a severe disappointment that he didn't explore the potential of the story to a greater degree. NUMBER SEVENTEEN is locked into its time and doesn't have anything close to the resonance of BLACKMAIL. To a fan of the director, it's essential but a bit off-putting. One good point is the closing chase sequence, which takes up a major chunk of the movie's second half (the total running time is only an hour). Despite the obvious use of miniatures, it's amusing to see the director play with buildup and action in an otherwise dismal effort

• Daniel D

  
  This was one of Hitchcock's early works and was one of his worse. It was very hard to follow and despite the film being only slightly more than an hour it was boring. There was one thing I liked a lot though. The klutz humor that Ben brought to the table. Without that this would… More
  This was one of Hitchcock's early works and was one of his worse. It was very hard to follow and despite the film being only slightly more than an hour it was boring. There was one thing I liked a lot though. The klutz humor that Ben brought to the table. Without that this would be one of my least favorite movies, which I would hate to say for any work of Hitch. This is defiantly the worse film I've seen of his but he was still a young director who had time to learn, and he certainly did.

• Mike T

  
  Despite an attractive visual style and some very innovative editing, Number Seventeen falters from weak structure and lack of character development.

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