1956 Directed by Alfred Hitchcock
A widescreen, Technicolor remake by Hitchcock of his 1934 film of the same title. A couple vacationing in Morocco with their young son accidentally stumble upon an assassination plot. When the child is kidnapped to ensure their silence, they have to take matters into their own hands to save him.
James Stewart Doris Day Brenda De Banzie Bernard Miles Ralph Truman Daniel Gélin Mogens Wieth Alan Mowbray Hillary Brooke Reggie Nalder Richard Wattis Noel Willman Christopher Olsen Alix Talton Yves Brainville Carolyn Jones London Symphony Orchestra Bernard Herrmann Covent Garden Chorus Barbara Howitt Patrick Aherne Frank Albertson Frank Atkinson John Barrard Mayne Lynton Clifford Buckton Walter Bacon Lovyss Bradley Nora Bush Show All…
L'homme qui en savait trop, El hombre que sabía demasiado, De man die te veel wist, Човекът, който знаеше твърде много, Manden der vidste for meget, Mies joka tiesi liikaa, Ο Άνθρωπος που Γνώριζε Πολλά, Covjek koji je previse znao, Az ember, aki túl sokat tudott, Ha-Ish sh'Yada Yoter Me'dye, L'uomo che sapeva troppo, De Man Die Te Veel Wist, Der Mann der zu viel wusste
Thrillers and murder mysteries High speed and special ops spy, agent, intrigue, thriller or suspense mystery, murder, detective, murderer or crime singing, musical, songs, tune or dancing film noir, femme fatale, 1940s, thriller or intriguing terrorism, thriller, gripping, intense or political Show All…
Hitchcock: Okay, which blonde have I not cast in one of my pictures yet?
*sees Doris Day*
Hitchcock: I’ll take that one!
*Doris Day walks up to Hitchcock*
Doris Day: Mr. Hitchcock! It’s an honour to be cast in your new picture. But I have one request. Can I sing?
Hitchcock: Uhhh...ha ha...Ms. Day this is a “Hitchcock” picture. I’m the master of suspense, what would I do with signing?
Doris Day: Well, I’m Doris fucking Day and you’re going to let me sing you bald bitch! QueeEEEeee sera SERAAAA
Jimmy Stewart attempting to hide behind a skinny church pillar with 3/4th of his body sticking out is peak hide and seek culture.
Only Hitchcock would call a movie about a woman who finds her voice after losing it in a terrible marriage "The Man Who Knew Too Much".
The Man Who Knew Too Much is a mid-tier Hitchcock, remake of his own & better 1934 film. The movie is elevated by its stellar performances by James Stewart & Doris Day and absolutely thrilling third act. Usually Hitchcock's movies are filled with multiple great sequences and set-pieces but this movie has only one (Albert Hall concert finale is remarkably suspenseful).
loved the opera house assassination sequence, and stewart and day are pretty charming, the rest is pretty middling for hitchcock.
Middle America is yanked into the middle of global intrigue in Alfred Hitchcock’s “The Man Who Knew Too Much.”
“Too Much” is the most notable of several instances of Hitchcock remaking his own early work. It’s also the only remake to retain the original’s title. The film takes its time playing out the child abduction plot more than its 1934 predecessor, but earns its right to patience from a director who is now thoroughly in command of his craft.
Similar to the Hitchcock’s redo of “39 Steps” in its remake, “Saboteur,” 1956’s “Too Much” sees the narrative of its first version dragged out over a greater expanse in setting and runtime. Where in “Saboteur” this came across as excess for…
It’s all worth it for the Albert Hall sequence.
While most of this film drags a good amount, it is totally redeemed by its climactic scene, where you’re anxiously awaiting this assassination attempt. The movie has no dialogue for 5 minutes and you’re totally on the edge of your seat. It’s the perfect example of Hitch having the audience in the palm of his hands.
Both Stewart and Doris Day felt oddly underutilized though, and I wish the adventure leading up until that point felt more engaging.
If you ever get hungry, our garden back home is full of snails. We tried everything to get rid of them. We never thought of a Frenchman!
Jimmy Stewart's just a massive dork in this, he gets outsmarted by a couch, a loaf of bread and a roasted chicken, all in the same scene. Later he gets bitten by a stuffed tiger.
A bewildered Jimmy Stewart anxiously wondering streets, sidewalks, and alleyways while Bernard Herman soundwaves escalate the tension is a forever mood.
Leisurely paced international VistaVision intrigue with a great cast and a dynamite Opera set piece, sure... it might not be as monolithic as his other 50’s offerings, but it’s damn fine placeholder for the Master of Suspense, plus the mere presence of the nefarious Reggie Nalder is always a delightful treat.
The cymbals.
A remake of Alfred Hitchcock's 1934 film of the same name, The Man Who Knew Too Much tells the story of a family which, while vacationing in Morocco, gets unexpectedly entangled in an assassination plot and is pursued by the conspirators who are hellbent on preventing them from causing any sort of interference with their plans.
Having watched a number of Hitchcock's films in the past few days, I was expecting another mood-escalating thriller from the genius filmmaker who never fails to amaze but this time the experience wasn't as satisfying as it has been on most occasions previously. The film no doubt delivers on most goods but unfortunately feels slightly overlong & extended in the end.
Featuring a clever plot,…
It’s fashionable to prefer the 1934 version to the 1956. I do, even if the remake is a better film. The earlier has the rough edges, power and concision of the Beatles in Hamburg. The latter has the polish and lush arrangements of their later studio tracks.
The biggest difference between the two, however, is not the enhanced production, or alien locations, or even the differences between a fresh and exciting director to the same one at the height of his powers. The biggest difference is that the mid-50s were the peak years of the domestic melodrama genre, emotional technicolor films from Sirk, Ray, and Minnelli that explored the struggle for control within a marriage, the balance of career and…
54/100
God I hate that song. Pretty toothless by Hitch's standards, with only one extraordinary sequence—not Albert Hall (which mostly impresses by dint of being shot on location; as suspense filmmaking it's distinguished only via our inability to hear the dialogue), but the scene in which Jimmy Stewart's doctor more or less blackmails his wife into taking heavy sedatives (telling her they're mild tranquilizers) before revealing that their son has been kidnapped. In Stewart's methodical pleading for her to just take the damn pills, trust him, he's a professional, you can hear the groundwork for Scotty Ferguson—a retroactive foreshadowing compounded by Herrmann doing a test run on the cues he'd use for Vertigo's tailing scenes. (I was really startled by…
