I started watching Alfred Hitchcock’s films when I was probably 12 or 13, too young to appreciate their style but old enough to know when they slipped by in a blur of fun and excitement. And yet when I first watched Rear Window (1954) there was a sense of something special having just happened, something I didn’t really appreciate until I rewatched it a few years later.
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The inverted mystery has been tickling my brain recently, and I got to thinking that I’d very much like to rewatch Alfred Hitchock’s Rope (1948). But the closest thing I could find on the various platforms available to me — without shelling out any money, you understand, which must be saved for essentials like books and coffee — was the similarly-inverted Dial M for Murder (1954), which I last watched before the need to shave had descended upon me. So, well, why not?
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Like a lot of people, I’m sure, I got on a classic movie kick in my teenage years and watched many of the greats, including much of Alfred Hitchcock’s work. It is only recently reading The Wheel Spins (1936) by Ethel Lina White, however, that brings me back to Hitchcock’s The Lady Vanishes (1938) for the first time in over two decades.
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The time has come again for some nerdy Golden Age Detection podcasting, and James Scott Byrnside is here to oblige with a discussion about some of the tropes we know and love from GAD fiction
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The Invisible Event 