Featured Audience Ratings

• Michael G

  
  When I first started watching Alfred Hitchcock's movies, I would pretend I was part of an alien race that was going to pillage Planet Hitchcock. Not really, but go with it. I'd start with the classic major cities (Psycho, Vertigo, North By Northwest), then work my way out to… More
  When I first started watching Alfred Hitchcock's movies, I would pretend I was part of an alien race that was going to pillage Planet Hitchcock. Not really, but go with it. I'd start with the classic major cities (Psycho, Vertigo, North By Northwest), then work my way out to the smaller but still happening cities (Rope, The Trouble With Harry, The Birds.) But lately I'm sifting through the lesser cities. The dull ones that serve egg noodles with ketchup and try to pass it off as spaghetti with marinara sauce. The towns that close by six, have two traffic lights and are 40 miles from the nearest Wal-Mart. I'm not going to go as far as to accuse Stage Fright of being the geographic equivalent of the armpit of the world, it sure as hell isn't a Fresno, CA! Stage Fright more or less wears into territory that Hitchcock spent a lot of time walking upon with the innocent being chased while trying to disprove their guilt. Here he does so from a different perspective with a woman trying to prove the innocence of the object of her affection. Stage Fright's cast is pretty good (normally I can't stand Jane Wyman but she's not bad here) but Alastair Sim steals the show as Wyman's father and makes the movie pretty damn funny at points. Stage Fright did little to make me wonder if the rest of Planet Hitchcock was worth conquering but it could always be worse. It could be Planet Bay or Planet Shyamalan. And we all know that the crappiest towns on Planet Hitchcock are still better than the meccas on those hellholes.

• Anthony L

  
  Stage fright has it's highs and lows, it's not one of his better films but that isn't saying much when you appreciate his amazing body of work. That said, here he invented one of my pet hates, the false flashback. He himself later admitted that he regretted it, a… More
  Stage fright has it's highs and lows, it's not one of his better films but that isn't saying much when you appreciate his amazing body of work. That said, here he invented one of my pet hates, the false flashback. He himself later admitted that he regretted it, a forgivable mistake though, especially when you consider his pioneering work within cinema - trial and error maketh' the man and all that. It is however, directed beautifully, I particularly enjoyed the backdrops of late 40's London, even to the point that I had to go on google-earth and check them out after the film. The performances are also very good, Jane Wyman & Marlene Dietrich are both brilliant but for me it's Alastair Sim who steals the show.

• Jennifer D

  
  I watched it only because it was going off of Netflix streaming. I just for the life of me could not get into this film. I wasn't invested in any character or interested in the story at all. Even with Marlene Dietrich in it. I'm not even sure if at the end I really knew all… More
  I watched it only because it was going off of Netflix streaming. I just for the life of me could not get into this film. I wasn't invested in any character or interested in the story at all. Even with Marlene Dietrich in it. I'm not even sure if at the end I really knew all what was going on. Sorry, I am just not a Hitchcock girl for the most part...

• AJ V

  
  This is such a creative and fun mystery movie. Sometimes it's a little confusing maybe, but in the end it's worth it. For some reason this is a lesser known Hitchcock movie, but it's one of my favourites, and I highly recommend it.

• Randy T

  
  Hitchcock considered the film's 'false flashback' sequence to be one of his greatest mistakes, citing that it made audiences feel betrayed. I'm not sure if it's quite as bad as all that but, in hindsight, it does seem to be an underhanded trick. Perhaps… More
  Hitchcock considered the film's 'false flashback' sequence to be one of his greatest mistakes, citing that it made audiences feel betrayed. I'm not sure if it's quite as bad as all that but, in hindsight, it does seem to be an underhanded trick. Perhaps I'm more forgiving because the cast here, notably Jane Wyman, Marlene Dietrich and Alastair Sim, are just so damn good. As it is, <i>Stage Fright</i> is a second tier Hitchcock production but only because others like <i>Vertigo</i> and <i>Strangers on a Train</i> set the bar so high.

• Cassandra M

  
  With such an unusual set of components, it was probably inevitable that "Stage Fright" would be a little uneven, but most of it works well enough. By Hitchcock's standards, it's average at best, but it is still an entertaining movie with an interesting story and a… More
  With such an unusual set of components, it was probably inevitable that "Stage Fright" would be a little uneven, but most of it works well enough. By Hitchcock's standards, it's average at best, but it is still an entertaining movie with an interesting story and a number of good sequences. Simply seeing the distinctive persona of Marlene Dietrich and the enjoyably unique style of Alastair Sim in an Alfred Hitchcock film would make for an interesting combination in itself. They are joined by a generally solid group of performers, with their own individual styles, and there are several characters who all get fairly sizable roles. Hitchcock's own approach here is a somewhat surprising contrast from his usual style of story-telling, and some of the developments must have seemed even more unexpected to the movie's original viewers. Another aspect of this is that for much of the movie none of the characters really takes and holds the focus, and as a result there are times when it seems to lack some flow. Yet there are a number of good points to it as well. There are plenty of the usual Hitchcock details that make things more interesting, and most of the cast members give good performances in themselves. Most of Hitchcock's movies are rather better than this one, but watching "Stage Fright" is still a better use of one's time than watching the weak present-day efforts in the genre

• Lady D

  
  My least favourite Hitchcock, so far, I was a little bored of this one and didn?t think the storyline measured up to some of the others. Maybe there was too much love in this one for me?

• jay n

  
  Hitchcock wasn't fond of this and while not among his masterpieces still a fine film with a good performance by Jane Wyman and a fun, lively one from the great Dietrich.

• Veronique K

  
  "stage fright" is one of lesser classic hitchcockian flicks. first of all, it lacks a fatally insidious villain to impress the audience. second of all, the righteous justice-fighter doesn't seem to be fiercely affective, either. besides at most of the time, our hero is… More
  "stage fright" is one of lesser classic hitchcockian flicks. first of all, it lacks a fatally insidious villain to impress the audience. second of all, the righteous justice-fighter doesn't seem to be fiercely affective, either. besides at most of the time, our hero is too busy falling in love that makes the crime exposure appear like a sudden blessed discovery. third of all, our heroine sinks into the hitchcockian misogyny pattern: women are meek stupified puppet of man as long as she's lovestruck, and that notion is enunciated in another hitchcock's lesser piece "spellbound" and his groundbreaking "vertigo" eve(jane wyman) is a theatre student who falls unfortunately for a murder suspect jonathan who loves the stage diva charlotte inwood(fashion icon marlene dietrich) who utilizes jonathan to dispose of her abrasive husband so she could ease at the bosom of her manager freddy whom charlotte truly cares. so the story is basically about how eve tries to reclaim jonathan's innocence by pretending to be charlotte's maid...and here comes a twist, she also falls head over heels in love again with the detective(michael wilding) who is in charge of the murder inspection. the dual impersonation of jane wyman as the fair lady and the clumsy maid is hitchcock's primary gimmick to tease the audience, but wyman refuses to uglify herself just because she doesn't want to be outshined terribly by her beautiful co-star marlene dietrich who utters the maxium of her allure with the christian dior constumes. so wyman chooses eclectism by downplaying the maid part. hitchcock reveals that in the conversations with trauffet that wyman literarily cried for this plea. marlene dietrich has led a long-term career of typecasting as the shrewd femme fatale with luring voice of siren and disciplined sense of fashion, so dietrich embraces her iconic status unfallingly well in various categories of cinema as savoring embellishment. she never takes her acting too seriously and she just wanna have fun with her glamour image which is her stockmarket asset in her own words. so dietrich's part in "stage fright" seems quite uneven in hitchcock flick since she deprives the riveting attention of jane wyman and other co-stars, and at some crucial points of plot developments, audience would rather listen to her singing "lazies girl in town" and "la vie de rose" than observe the happenings of the main scenes that is very distracting. hollywood villains always glitter with more refined sophistication than the naive heros, so are the female counterparts. dietrich's ultimate womanhood lacklusters jane wyman as adolescent cheerleader who bluntly just dives for whoever man she has a crush upon without consistancy. wyman's eve also doublecross dietrich's diva by entrapping her to the police evasdroping. thus audience may sympathesize with the schemefully crooked dietrich who is backstabbed by moralistic goodie-goodie wyman, and dietrich's contempt is subtly put as "i once had a dog, it bites me..so i shot it....when i give all my love, i always get trechery and hatred, just like my mother used to hit me on the face."...she spitefully metaphorizes wyman's betrayal as her dog biting her, then a circle of smoke surrounds over her complexion like mysterious fog as she stares up to the camera. without dietrich, "stage fright" would be more symmetrical but also more dull, so the cameos of dietrich are the visual feast to keep up audience's interests...but "stage fright" is neither marlene dietrich's glamorous mercenery entertainment or hitchcockian suspense thriller but a hybridized oddball.

• Hal M

  
  Second-rate Hitchcock fare. Jane Wyman is a simply awful choice for the lead and yet is on-screen practically constantly. Marlene Dietrich--still alluring at age 49--is by contrast much underused. The script itself is just journeyman suspense film material yet it might have worked… More
  Second-rate Hitchcock fare. Jane Wyman is a simply awful choice for the lead and yet is on-screen practically constantly. Marlene Dietrich--still alluring at age 49--is by contrast much underused. The script itself is just journeyman suspense film material yet it might have worked with better direction and casting. Actually...there is a little humor about half-way through that suggests the script might have worked better as a spoof.

• David S

  
  Really enjoyed this film and hadn't expected much as it's not considered one of Hitch's classics and didn't know much about it. The story is nice and simple but it is the performancs that make this film. Alastair Sim is hilarious as the father and Dietrich shows… More
  Really enjoyed this film and hadn't expected much as it's not considered one of Hitch's classics and didn't know much about it. The story is nice and simple but it is the performancs that make this film. Alastair Sim is hilarious as the father and Dietrich shows why she was a star with a great scene talking about dogs at the end. Although there are no 'classic' hitchcock scenes here the scene towards the end when the killer is revealed in under the stage with the heroine is shot brilliantly and is riveting. Deserves more recognition.

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