Angela Devas, in her piece How to be a Hero: Space, Place and Masculinity in ‘The 39 Steps’, “articulates the characteristics necessary to become a filmic hero” through an examination of Richard Hannay and his actions.

Devas argues that Hannay is, from the beginning of the film, established as a masculine hero. When the audience first is introduced to him in the music hall during Mr. Memory’s first performance, he stands out from the crowd as well dressed, handsome and tall. His question “How far is Winnipeg from Montreal?” immediately identifies him as an outsider, a wanderer. This disconnection from place is reinforced with his relationship to his apartment. Devas notes that he is “living in a borrowed flat” and, more importantly, “his name. . . is not engraved on the front entrance” but rather scrawled on a piece of paper. His lack of connection with the domestic environment is evidence of his independent masculinity. This masculinity is repeated in his displays of physical prowess, most notably when he escapes from the train on the bridge to Scotland. His daring flight, in which he perches perilously from the girder of the gigantic bridge, illuminates his capacity not only as a physical specimen of masculinity but also as capable of dominating nature and his environment. In becoming a part of the bridge, Hannay connects with its power over the landscape and the audience is again led to a realization of Hannay’s masculine power and domination.

Devas’ piece sheds light on Hannay’s role as a masculine hero in The 39 Steps. Not only is he the savior of state secrets and the love interest of the beautiful Pamela, he represents an ultimate image of filmic masculinity and herodom.