Although I’m not sure when it happened, it’s pretty clear now: I adore Hitchcock’s 1930′s output.
What’s odd is I occasionally find myself hesitant to dip below 1945. I’m unsure why that is as I am rarely disappointed. Young and Innocent (or The Girl Was Young) is no exception.
Focusing on a man wrongly accused of strangling an actress, YaI plays out like countless other Hitchcock (and Hitchcockian) films. Robert (Derrick De Marney) finds himself on the run with his reluctant accomplice Erica (Nova Pilbeam), who happens to be the daughter of the Chief Constable.
This simple, and often repeated plot, calls numerous things to mind. The woman’s body washing up on shore reminds one of Frenzy; especially since she was dispatched with a raincoat belt (the latter would use a tie). The heroine coming the aid of the troubled/on-the-run/desperate man is something that pops up often in films like The 39 Steps, I Confess, Spellbound, and Stage Fright, although it’s executed with varying degrees of success. What’s fascinating to me is how it sometimes works so well. And when it is effective, how it avoids being stale.
The answer in the case of YaI can be found in the likability of the characters, and the prowess of the actors. Films from this era can often fail to translate with modern audiences; character actions don’t make sense, customs of the time leave one feeling disconnected, etc. But when it hits just right, all these things fall away and you are left with something simple and timeless.
When Erica inevitably falls for Robert, you buy it. Their romance isn’t rushed and there are no proclamations of “I love you” 20 minutes after meeting. They take a liking to each other, make realistic decisions colored by the fondness, and interact accordingly. There is no overwrought love story. It’s two people under extreme circumstances latching on to each other. The best example of this I can think of is The 39 Steps. The most maddeningly nonsensical is Spellbound. Much like in The 39 Steps, you really want these characters to get together. Their hesitation and weariness makes sense and you find yourself pulling for them.
It also helps that Robert is almost completely absent from the finale. It’s nice to see Erica without him by her side. Although he is replaced with a bum named Old Will who is helping them track down the real killer. It’s quite the off-beat take on the usual “wrong man” storyline.
All the characters are likable and the humor is abundant. Aside from the unfortunate blackface (yea, you heard me) YaI is a perfect British-era Hitchcock film. If you’re looking to dive into the ’30s output, this is a great place to start. The cameo is also pretty fantastic.
