Action / Crime / Thriller

Rotten Tomatoes Critics - Certified Fresh 100%
Rotten Tomatoes Audience - Upright 69%
IMDb Rating 7.1 10 14129


Uploaded By: OTTO
July 22, 2015 at 09:25 AM


Alfred Hitchcock as Man Walking Past The Cinema as the Light is Renewed
Sylvia Sidney as Mrs. Verloc
Martita Hunt as Miss Chatham - The Professor's Daughter
720p.BLU 1080p.BLU
694.72 MB
English 2.0
23.976 fps
1 hr 16 min
P/S 3 / 6
1.24 GB
English 2.0
23.976 fps
1 hr 16 min
P/S 6 / 16

Movie Reviews

Reviewed by LeonLouisRicci 10 / 10

Objectively One of the Best "Early" Hitchcock...Timeless and Terrorizing

While Comparing Hitchcock's Early Period Films this one is Usually Relegated to the Second Tier and other more Popular, or well known, Movies are Elevated above this and it is Considered a "Minor" effort in the Director's Filmography.

But Objectively it Holds Up as well as any from the Era and in some respects, even More so. It is Pure Hitch and even though in Later Years He Commented on Regrets concerning a Major Plot Point, it is Exactly that Plot Point that Exclaims His Unorthodox Artistry and Experimental, but Polished, Flourishes that made Alfred Hitchcock a Film Artist of the First Order.

The Film's Ingredients: Actors Sylvia Sidney, Oskar Homolka, and Desmond Tester are Superb and Fleshed Out. In Melodramatic Cinematic Terms the Center by which Hitch Unleashes His, now Familiar Themes within a Movie Making Playground are Classic and Copied to this Day.

The Cityscape Terrorism Plot has become a Timeless Time-Bomb. The Suspense, Pre-War Paranoia, and Technical Montage Techniques are Crisp and Captivating, even Today. There are Plot Twists that the most Seasoned of Moviegoers won't See Coming.

Controversial since its Release Date, it is a 1930's Hitchcock Movie that is Underrated, Misunderstood, and Remains a Must See for Film Historians or Anyone who likes being Manipulated by a Movie from a Master Manipulator.

Reviewed by lasttimeisaw 7 / 10

A minor Hitchcock film can still be engaging, only its aftertaste tends to be a shade astringent

A Hitchcock thriller made in his UK years, SABOTAGE opens with its own definition in a dictionary, but there is little to be said apropos of the motivation behind the anarchists. It is an usual London night, all the razzle-dazzle is in full bloom, suddenly a blackout causes some commotion on the street and in the centre stage there is Bijou cinema, where patrons are baying for refund of their tickets, at the same time, its owner Mr. Verloc (Homolka) furtively sneaks back to his apartment upstairs, and pretends that he has never gone out when his wife (Sidney) surprisingly finds him on the bed.

So it seems that this time Mr. Hitchcock doesn't play either the whodunit or the why-do-it card and clocking in a condensed 76-minute, the film even waive the possibility of a McGuffin to compel audience into the puzzle. Admittedly, there is no puzzle at all, Mr. Verloc is the said saboteur, whose blackout sabotage doesn't quite hit the mark (even being pilloried by the media) and he is tasked to up the antes, it doesn't take much persuasion for him to forgo his no-casualties-causing vow to collude with a professor (Dewhurst) who is excel at making "fireworks". In a straightforward manner, the story also sidetracks in the incipient attractions between Ms. Verloc and Ted (Loder), who works in the green-grocery next to the cinema, but his real identity is an undercover sergeant of Scotland Yard, and secretly stakes out Mr. Verloc.

Ms. Verloc has no inking of her hubby's insidious deal, time and again she tells Ted that Mr. Verloc has the most kind-hearted soul she has ever met, which is a farcically self-defeating statement because whoever has eyes can palpably detect something amiss in Oskar Homolka's hammy affectation with all those mannered scowls and insincere oratory, one might seriously wonder how dumb a woman could be if she fails to sense that from the man she shares a bed every night, that's a disservice to Hitchcock's heroine, beautiful but dumb, yet, she still deserves a miracle in the end.

Then there is that infamous "boy with a bomb" set piece, the story is a no-brainer, but the suspense never goes to seed under Hitchcock's rein. One must admit it is a left-field coup-de- théâtre (through a string of heightened montages) a first-time spectator barely can see it coming, Mr. Hitchcock really dares to corroborate that nothing is impossible on the silver screen, although in retrospect this only materializes as a flash in the pan because when he veers into the Hollywood thoroughfare, he will be inured to adhere to a more morally rigorous precept. A minor Hitchcock film can still be engaging, only its aftertaste tends to be a shade astringent.

Reviewed by robert-temple-1 10 / 10

Intensely absorbing early Hitchcock, highly relevant today

One might not think a film made in 1936 could be so relevant today, but this one really is. It starts with the power supply for much of London being cut off by a terrorist bombing of the Chelsea Power Station. I need hardly remind anyone of the many contemporary media warnings of such threats, whether by bombs or by the new means of 'hacking'. The Great Blackout in New York City decades ago, and the huge power cut for much of Canada many years ago, may have been 'dry-runs'. Such threats are more relevant now than in 1936. But the eeriest thing in this film is to see a bus blown up by a bomb in a busy London street, killing its passengers. This really happened in 2005, 69 years after this film was released. Are the Islamic terrorists watching Hitchcock films? Or was Hitchcock just that far ahead of his time in seeing what was coming? This film is far more powerful than THE MAN WHO KNEW TOO MUCH (1934, see my review), and shows Hitchcock's suspense muscles tightening considerably. The unlikely star of the film is Oscar Homolka, who spent the rest of his career as a steady character actor. Here he is the lead, and he gives a spectacular performance. Hitchcock likes to close in on his face, especially when Homolka is silent, just as he had done two years earlier with the equally expressive face of Peter Lorre when he was also silent. What is it about these Central European actors of that generation who did not need to speak in order to act? Well, of course, they had grown up in the era of silent films, and they knew what a face could say without opening its mouth. As a stage actor in Vienna, which he fled because of the Nazis, Homolka had played Othello, and in this film we see the real stuff he was made of, which is that of a towering talent. This film is loosely based on a Joseph Conrad novel, THE SECRET AGENT (this novel would later be made into a feature film four more times, and in 2016 into a BBC TV series). The female lead in this film is Sylvia Sidney, who was famous for her sad eyes. She was very petite. She is perfect for the part of Homolka's wife, and she too says much without speaking. This is an extremely intense film, where the tension goes on increasing in the usual Hitchcock manner. Homolka lives in London but is in liaison with some terrorists, and considering that his boss has a German accent and this is 1936, we get the message. A character actor who plays one of the 'bad guys' is Peter Bull (uncredited), whom I used to know when he ran an astrology shop in Notting Hill Gate long ago. His heavy protruding lower lip resembled Hitchcock's. We see a great deal of London life in this film, whether on location or on a huge set makes little difference, as it is all thoroughly authentic. Hitchcock loved grocer's shops (his father had been a cabbage dealer) and street markets. The featured area in the film is S.W.5, which is the Earl's Court area, as it may have looked at that time. The editing of this film by Charles Frend is sensational, and greatly adds to the power of the movie. The scenes in the aquarium are suitably weird, and add to the furtive atmosphere of Homolka meeting and receiving instructions from his Nazi handler. This is truly vintage Hitchcock at its best.

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