The Disappearance of Alice Creed is an atypical film, a kidnapping film made from the perspective of the kidnappers; sort of a “Low” version of High and Low. There are only three characters: Alice, Danny, and Vic. A compelling script by talented screenwriter (and first-time director) J Blakeson creates audience sympathy for all of the characters, especially Danny the protagonist who is a tragic hero. There are no scenes involving the police or the victim’s family, so it is not known how close the authorities were to solving the case. Blakeson simply shows the victim and her two captors, who see the plot more as a scheme to raise a great deal of money without hurting anyone.
Of course – as usual – things don’t go entirely as planned.
The film was made on location on the Isle of Man (lingering question: how would the kidnappers have gotten themselves and the money off the island?) and most scenes take place in an apartment. Blakeson told the audience afterwards that he wanted to keep costs low so that he could make the film no matter what and it led to a very interesting plot structure. Several twists kept the audience off-balance. Yet, these “reveals” seem entirely logical and thicken the plot in a reasonable manner.
This film shows how the creation of suspense is a matter of mood and subtlety, not meaningless explosions. The Disappearance of Alice Creed withholds information at times, foreshadows later development, and continuously ratchets up the suspense level. It is a film that Alfred Hitchcock might have made in his later years. Once hooked after the unconventional introduction, the viewer is hooked and wants to know how the story will unfold.
Mirrors provide a symbolic way for the characters to look at themselves and try to understand what they are doing and what they have become. There is a broken mirror in the apartment, showing how the characters have completely lost their way, a mirror in the bathroom where Danny can look himself in the eyes as he worries about the plot, and the rear view mirror of the getaway car, where one character looks at the audience (and themselves) before driving off and beginning a new life. ****