Alfred Hitchcock Collectors’ Guide: Miscellaneous British Films

by Brent Reid
  • His Master’s Apprenticeship: detailing the preservation status of Hitchcock’s earliest works
  • He entered the fledgling film industry in the early 1920s as a lowly freelance title card designer
  • Quickly worked his way up through more responsible roles, culminating as assistant director
  • Hitchcock’s next step was to begin creating his own inimitable catalogue of classic films
  • Rose to become Britain’s top director within a few years and Hollywood soon came calling

Note: this is one of 100-odd Hitchcock articles coming over the next few months. Any dead links are to those not yet published. Subscribe to the email list to be notified when new ones appear.

Woman to Woman (1923, asst dir. Alfred Hitchcock) US window card

Woman to Woman (1923) US window card

During his early years in the British film industry throughout the 1920s and 1930s, Hitch worked on 20-odd shorts and features in various capacities and earned a sole directing credit for 27 more. Only a handful of the films on which he had lesser input survive, in varying levels of condition and completeness.

These are the British films Hitch worked on outside of his main oeuvre. Except where noted otherwise, most are lost and of the remainder only three and a half (in bold) are available on home video. Thankfully though, five of those that are wholly or partially extant can be viewed for free via the wonderful BFI Mediatheques (films). They also have a handful of other Hitch essentials, including the documentary Paul Merton Looks at Alfred Hitchcock (2009), in which the comedian extols the virtues of Hitch’s pre-Hollywood career.

AD: assistant director, ArtD: art director, CD: co-director, CW: co-writer, D: director, P: producer, PM: production manager, SA: studio assistant, TD: title designer

Famous Players-Lasky (British Producers Limited)

  • The Call of Youth (1921) – TD
  • The Great Day (1920) – TD
  • The Princess of New York (1921) – TD
  • Appearances (1921) – TD
  • Dangerous Lies (1921) – TD
  • The Mystery Road (1921) – TD
  • Beside the Bonnie Brier Bush (1921) – TD
  • Three Live Ghosts (1922) – TD, ; original lost but Soviet re-edit extant: 6 reels/5,784ft
  • Love’s Boomerang (1922) – TD
  • The Man from Home (1922) – TD, ArtD; original lost but extant w/Dutch titles: 7 reels/6,895ft
  • The Spanish Jade (1922) – TD, ArtD

Islington Studios

Marjorie Daw in The Passionate Adventure (1924, asst dir. Alfred Hitchcock)

Marjorie Daw in The Passionate Adventure (1924) – see here

Hitchcock Lost and Found: The Forgotten Films (2015) by Charles Barr and Alain Kerzoncuf is the most in-depth resource yet published on the films listed above, and is very strongly recommended.

London’s Hollywood: The Gainsborough Studio in the Silent Years (2014) by Gary Chapman is the definitive history of the Islington (later Gainsborough) studio where Hitch began his career, and a simultaneous account of his meteoric ascent. Author article.

Woman to Woman (1923)

Based on Michael Morton’s eponymous 1921 play, the first filmed version was directed by Graham Cutts, with Hitch assisting in several roles both credited and uncredited, writing and directing among them. Though I wouldn’t expect it to have been the most insightfully written Hitch adaptation:

“I had to write the screenplay for the movie Woman to Woman: the story of a man who has a mistress in Paris, who bangs his head, loses his memory, and starts going with another woman, who gives him a child. Well, I was 23 years old, I’d never been with a woman, and I didn’t have the slightest idea what a woman did to have a child. I had even less idea what a man did when he was with his mistress in Paris or when he was with another woman who was giving him a child.” – 1963 interview with Oriana Fallaci

Woman to Woman (1929) with Betty Compson, US lobby card

Woman to Woman (1929) US lobby card

It’s a tragic tale of doomed romance set against the backdrop of the First World War. Despite Hitch’s lack of worldly insight, it was a commercial success, spurring Hitch and Cutts to hurriedly produce another film with Betty Compson, their imported US star, before she returned home. But the resultant effort, White Shadow, was too rushed and flopped on release. In the complete absence of Woman to Woman’s 1923 original, we’ll have to content ourselves with the 1929 talkie remake, also featuring Betty Compson and directed by Cutts’ contemporary, Victor Saville. A second remake followed in 1947, this time updated to WWII, but it’s currently unavailable. However, various copies going right back to the original negative are held by the BFI Archive, so you never know. Until someone ponies up for a full restoration, circulating copies of the 1929 version are in worn but watchable condition via these unofficial releases:


Betty Compson in Woman to Woman (1923, asst dir. Alfred Hitchcock)

Betty Compson in Woman to Woman (1923)

Lord Camber’s Ladies (1932)

Lord Camber's Ladies (1932)

This was Hitch’s final film for British International Pictures and the only one for which he was solely credited as producer. It’s based on Horace Annesley Vachell’s 1915 play, The Case of Lady Camber, first filmed eponymously in 1920 but now lost. A second remake, The Story of Shirley Yorke, followed in 1948 and is available on DVD. Notable members of the 1932 version’s cast include Nigel Bruce in the title role but best known for playing Basil Rathbone’s amanuensis in the Fox/Universal Sherlock Holmes series. Another is Clare Greet, star of Number 13, Hitch’s first film, albeit uncompleted and also now lost. She also appeared in Three Live Ghosts, for which Hitch drew the the intertitles, and acted in seven other Hitchcocks, more than any other featured player. Lastly, Gerald du Maurier, father of Daphne, had top billing. His daughter of course wrote the source novels for Jamaica Inn and Rebecca.

There’s more info and a very ropy bootleg copy over at the invaluable Hitchcock Zone; this is an expectedly creaky programmer that’s difficult to watch in its present condition but worth it for fans of early British talkies. As with Woman to Woman’s remake, the BFI have a cache of materials including the original negative, so there’s similarly strong potential for a great preservation or even restoration. But it’s owned by Studiocanal, so don’t hold your breath, given their complete lack of action over the far better known and more essential Juno and the Paycock.

For more detailed specifications of official releases mentioned, check out the ever-useful DVDCompare. This article is regularly updated, so please leave a comment if you have any questions or suggestions.

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Fr. Matt
Fr. Matt
25th February 2022 15:06

So, which of the British miscellaneous films are available on home video? Would you mind to list those more clearly? From what I can tell, they are Woman to Woman, White Shadow, the Blackguard (VHS only?), The Prude’s Fall (VHS and Beta?), Elstree Calling, and the duo Bon Voyage and Adventure Malgache (BFI blu-ray)… any others?

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