a5c7b9f00b On a train traveling through pre-WW II Germany, American heiress Amanda Kelly befriends a Miss Froy, an older nanny. But when Miss Froy disappears, everyone Amanda asks denies ever having seen her. Eventually Amanda persuades American photographer Robert Condon to help her search the train, during which they discover that Miss Froy wasn't quite what she seemed.
Whilst traveling in pre-war Nazi Germany, a young couple realise a passenger seems to have been kidnapped off their train, but, no other passenger aside from themselves, recalls her.
I've seen Hitchcock's original and did not expect much for the remake. Boy was I surprised. This actually seemed better than the original. It's a must have. It will be in my DVD collection. The actors made this movie. Lansbury, Shepherd and Gould were superb. Who would have thought Gould could compete with a Redgrave; but, he actually pulled it off. I think this was Shepherd's best performance ever. Lansbury's recent performance in a children's movie was pretty good, but this, indeed, has to be her absolutely best performance ever. Cheers to all the actors and director. If you can get your hands on a copy of this movie, do so today. It is well worth the investment. I am particular about my movie collection, but this one made the cut.
First, this shouldn&#39;t be compared to the Hitchcock film. They&#39;re not the same kind of film, and comparisons are pointless. Both movies are good, in different ways.<br/><br/>Second, I love Elliot Gould, usually, but in this film he&#39;s not good. His normal playful, easy charm is replaced by too much frowny mugging for the camera.<br/><br/>But Cybill&#39;s fabulous. My main criticism is that this is a girl&#39;s movie, but Cybill wears the same gown throughout. And she looks gorgeous in it, but if you&#39;re going to make a girl film, for goodness&#39; sake, let the girl change her clothes once a week. And she doesn&#39;t. But her performance is terrific - she throws herself into the part with enthusiasm and lack of embarrassment, even when she has to do fairly embarrassing things. She&#39;s tough and tomboyish and beautiful, really starry. And because of this, the film&#39;s just fine. It&#39;s a shame the normally sexy Elliot Gould&#39;s performance is kind of flat, because he can do so much better. Worth seeing. .

In August 1938, American heiress Amanda Kelly (<a href="/name/nm0001732/">Cybill Shepherd</a>), while on a drunken binge, meets English governess and music teacher Miss Froy (<a href="/name/nm0001450/">Angela Lansbury</a>) on a train from Bavaria to Switzerland. When Mrs Froy suddenly vanishes, no one will believe (or admit) that she was ever on the train, chalking it up to Amanda&#39;s imagination and coupled with her drinking. It&#39;s only when Amanda meets American photographer Robert Condon (<a href="/name/nm0001285/">Elliott Gould</a>), and the two start poking around, that they discover what is really going on. The Lady Vanishes is a remake of <a href="/title/tt0030341/">The Lady Vanishes (1938)</a> (1938), which was based on the novel The Wheel Spins by English crime writer Ethel Lina White [1876-1944]. The screenplay for the 1979 version was written by American screenwriter George Axelrod. Another remake, also called <a href="/title/tt2183152/">The Lady Vanishes (2013)</a> was released in 2013. The car carrying Amanda, Robert, Miss Froy, and several other passengers is detached from the train and diverted onto an isolated track where German Schutzstaffel (SS) soldiers are waiting to take Miss Froy into custody. A shootout takes place, during which Froy reveals to Robert and Amanda that she is a British spy. She teaches a tune to them, the same tune that she was heard whistling at the beginning of the movie, then escapes from a back window and makes a run for it while dodging bullets. Robert and Caldicott (<a href="/name/nm0138428/">Ian Carmichael</a>) get the train started again, and they outrun the SS. When Robert and Amanda finally make it to London, singing the encrypted tune all the way, Amanda ducks into a cab with him in order to avoid her fiancè who is waiting for her. They go to Whitehall to deliver the message, but suddenly they cannot remember the tune. In the final scene, as they try to remember it, they hear the tune being played on a piano. Opening the door into the piano room, they see Miss Froy playing it. She managed to escape successfully, and everyone happily hugs each other. We never find out the actual message, other than Miss Froy&#39;s admission that she is acting on the orders of General von Reider and must get the message through because &#39;there&#39;s going to be a war, you know.&#39; Even Froy admits that she doesn&#39;t know the meaning of the tune. This film, being a remake of an old Alfred Hitchcock film, uses Hitchcock&#39;s trademark…the &#39;McGuffin&#39;, which he described as &quot;the mechanical element that usually crops up in any story. In crook stories, it is almost always the necklace and in spy stories it is most always the papers.&quot; The thing that characterizes a MacGuffin is that the content of the tune, the jewels, or the papers is not important and, most times, never even revealed. It is something very minor that is often never fully seen or explained but is central to the plot. In the original movie, Miss Froy explains only that …it contains, in code of course, the vital clause of a secret pact between two European countries.&#39;
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