The Man Who Knew Too Much

When you start watching the 1956 version of THE MAN WHO KNEW TOO MUCH, you'll think it's a minor work by Alfred Hitchcock. The countless scenes showing a lovely, but buffoonish vacationing American couple (James Stewart, Doris Day) seem to lead nowhere. But, hold on, about thirty minutes into the film, during a very dreamlike murder sequence (which takes place in bright sunlight, and involves blue paint) the film really takes off. Personally, I find the opening "character development" sequence between protagonists James Stewart and Doris Day very charming. It sets you up for the second and third acts of the film. You get to like this couple so much, you are raelly rooting for them as they try to rescue their kidnapped son amidst a plot to assassinate a visiting diplomat. Of course, the high-point of the film is the assassination itself, a twelve minute wordless sequence. Hitchcock beautifully brings us back to silent film! The ending, which involves a rescue at an embassy, is wonderfully silly and tense. For those not familiar with Hitchcock, this is Hitchcock's own remake of a film he made under the same title in 1934 in England. This is one of my favorite Hitchcock films. It's proof that this master loved his audience and wanted to keep them thrilled!

Alfred Hitchcock's more assured telling of a film he made twenty-one years earlier is infinitely superior to the original. Hitchcock said himself that his first version was the work of an amateur, and although it certainly isn't a bad film, he does appear to be right. That being said, this remake, although definitely better, still isn't among Hitchcock's best work. That's certainly not to say that it isn't good, it's just more than a little overindulgent, and that drags it down. Hitchcock seems all too keen to drag certain elements out, and these are parts of the film that aren't entirely relevant to the plot, which can become annoying. Some of these dragged out sequences, such as the one that sees James Stewart and Doris Day eating in a Moroccan restaurant are good because it helps establish the different culture that our American protagonists have found themselves in, but for every restaurant scene, there's an opera sequence and it's the latter that make the film worse.

The plot follows a middle-aged doctor and his wife that go to Morocco for a holiday with their young son. While there, they meet a French man on the bus and another middle-aged couple in a restaurant. However, things go awry when the French man dies from a knife in the back, shortly after whispering something to the doctor. The holiday then turns into a full blown nightmare when the couple's son is kidnapped, which causes them to cut it short and go to London in order to try and find him. The film has a very potent degree of paranoia about it, and it manages to hold this all the way through. In fact, I would even go as far as to say that this is the most paranoid film that Hitchcock ever made. Like most of Hitchcock's films, this one is very thrilling and keeps you on the edge of your seat for almost the entire duration, with only the aforementioned opera sequence standing out as a moment in which the tension is diffused. There is also more than a little humour in the movie, which gives lighthearted relief to the morbid goings on, and actually works quite well.

The original version of this story was lent excellent support by the fantastic Peter Lorre. This film doesn't benefit from his presence, unfortunately, but that is made up for by performances from the amazing James Stewart, and Doris Day. James Stewart is a man that is always going to be a contender for the 'greatest actor of all time' crown. His collaborations with Hitchcock all feature mesmerising performances from him, and this one is no different. (Although his best performance remains the one in Mr Smith Goes to Washington). Stewart conveys all the courage, conviction and heartbreak of a man that has lost his child and would do anything to get him back brilliantly. In fact, that's one of the best things about this film; you are really able to feel for the couple's loss throughout and that serves in making it all the more thrilling. Doris Day, on the other hand, is a rather strange casting choice for this movie. She's definitely a good actress, but she's more associated with musicals and seeing her in a thriller is rather odd (even if she does get to flex her vocal chords a little).

As I've mentioned; this is not Hitchcock's best film, but there's much to enjoy about it and although I'd recommend many Hitchcock films before recommending this one, I'll definitely give it two thumbs up as well.

Both versions of Hitchcock's "The Man Who Knew Too Much" have their strong points, and are well worth watching. This 1950's remake is carried mostly by its star power, with Jimmy Stewart and Doris Day being convincing and very sympathetic as the parents of the kidnapped child. It also has more lavish settings and better (not just because it is color) photography than the earlier version. On the other hand, it lacks the wittiness of the British version, and moves more slowly.

The remake spends much more time setting up the story than the original did, with the family spending a lot of time on their vacation in Morocco before the crisis occurs. It makes possible some colorful scenery and settings, and allows you to get to know the family a bit more, although the quicker pace in the original established more tension and kept your attention throughout. The Albert Hall sequence works well in both films, with this one having the added bonus of allowing the audience to see Bernard Herrmann, who wrote so many great scores for Hitchcock's films, conducting the orchestra.

Despite having essentially the same story, the two versions of "The Man Who Knew Too Much" have a much different feel. Which one you prefer is largely a matter of taste - while neither is usually considered among Hitchcock's very best, they are both good movies with a lot of strong points. Take a look at both if you have the chance.

All the trademark Hitchcock elements are in place yet again, for a wonderful example of crowd-pleasing from the man who knew better than anyone just how to work an audience. James Stewart, everyone's perfect everyman returns to familiar ground, with the perfect wife (Doris Day, perfect casting), and perfect family. Into this chocolate box world is thrown some dangerous information, and a downward spiral of kidnap and murder.

As usual, there are the elaborately staged set-pieces, and the intimate psychoanalysis that you would expect. Here, the assassination sequence in the Royal Albert Hall provides the former - a beautifully choreographed blend of music and images building to the pivotal crash of cymbals, and the scenes in Morocco the latter, as our couple become obliviously embroiled in international espionage. It is hard to find fault with any of Hitchcock's contrivances (using the Oscar-winning 'Whatever Will Be' as a plot device to get Doris singing is almost too much, but forgivable), and the the whole cast are superb, giving incredibly naturalistic performances - see the scene in the Moroccan restaurant, which almost seems ad-libbed.

One of Hitchcock's best.

It's well known that Alfred Hitchcock had a penchant for casting icy blondes as his leading ladies, but it's often forgotten Doris Day was once one of them. In The Man Who Knew Too Much, the pronunciation of which was forever immortalized by Robert Osbourne, she's married to James Stewart, another of Hitchcock's favorites. In a rare dramatic turn, Doris shows her hidden talents. There's a famous and heart-wrenching scene that's nearly impossible to watch without a tissue handy. Doris and Jimmy's son has been kidnapped, and Doris is having a meltdown. James injects her with a sedative because he's a doctor and believes that's the best way to help her, and she hysterically cries until she passes out.

While Doris usually gets all the acting praise from this movie, it's probably because everyone expects James Stewart to be great in a Hitchcock film. But let's not forget he was the other actor in that difficult scene, watching and deciding how to help his wife. He's wonderful in this movie, but if you know and love him like the rest of the country, it's not really a surprise.

The Man Who Knew Too Much isn't the most famous Alfred Hitchcock movie out there, but it's absolutely worth watching. It has Doris's quintessential song "Que Sera Sera" and she also credits it with spawning her lifelong devotion to animals. Plus, it's pretty suspenseful, a necessity in a Hitchcock movie. There are exotic locations, good-looking leading actors, murder, and intrigue. What else do you want?