Entertaining early Hitchcock thriller with added cultural depth

Rating: Null/10 (6 May 2008)

The principal theme of the wrong-man, hunted by police and in search of the criminals that framed him - all the while attempting to prove his own innocence - was always a key-concern of Hitchcock's work; one that is here given a further element of heightened paranoia as a result of the subtle allusions to government conspiracies, abuse and the early appearance of fascist ideologies, all tying into the political concerns of the era, and that vague foreshadowing of events that would transpire following the attack on Pearl Harbour. Although this film never makes any explicit reference of these events, or indeed, any obvious effort to pin the drama to more recognisable or topical concerns, there are still definite elements that suggest these themes in a way that both enriches and adds context to the drama, without ever turning it into a work of agitprop or political polemic. Instead, the themes are used merely to enrich the story and give a sub textual sense of scope and urgency to the plight of our central character, as he attempts, against all odds, to solve the mystery and clear his name.
As you can imagine, the film offers a number of scenes of clearly wrought tension and a continually twisting narrative that throws a number of last minute surprises without ever losing sight of the central themes or the plight of the central character. Hitchcock's direction is as fine as you would expect, with the film filled with the usual dark and iconic images, and those wild, over-the-top set pieces; the most famous of which takes place on a giant recreation of the Stature of Liberty and is devoid of any over-score. Although the pace may be considered a little slow for some tastes, the film, for me, is pure entertainment, and certainly rewards repeated viewings with its enthralling plot, likable characters and bold strokes of direction.
Although you could probably argue that it lacks the finesse of the previous Rebecca (1940) or the subsequent Shadow of a Doubt (1943), Saboteur (1942) remains one of Hitchcock's most entertaining thrillers; a deft blending of serial adventure and pure pulp fiction, and a definite early precursor to the more successful likes of North by Northwest (1959).