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Film #16 of "Scavenger Hunt #3" Challenge!
Task #23 : A Peter Lorre Film!
letterboxd.com/naughty/list/scavenger-hunt-3/
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I choose this title so that I would be able to scratch the Peter Lorre task off of my Scavenger Hunt list but admittedly it is not a very good representation of his talent! Hindsight being 20/20 I know now that I should have revisited Fritz Lang's "M" as that is clearly Peter Lorre's Magnum Opus!

I viewed this film along with the 1956 remake back to back and while neither one lived up to my expectations of Alfred Hitchcock film, the latter did a far better job of withstanding the test of time!

Atmospherically, The Man Who Knew Too Much is delightful. Beautiful locations, haunting architecture and intriguing characters lend themselves to this atmosphere, an impeccably stylized early-era Hitchcock effort. It's a typical outing from the legendary director, filled with suspense and everyday people getting swept up in nasty, irregular business. Peter Lorre is wonderfully slimy and shady, a great menace to the unwilling protagonists. An added layer of terror lies in the fact that the group of criminals in this film are everyday people, lurking all around us. But in the end it's tough to note the utter implausibility of this plot, which Hitchcock compensates for with a witty script and lively direction. I haven't seen Hitchcock's remake of this film, but I'm interested to see which changes he made. This isn't among Hitchcock's best, but there are moments of greatness and hints of the masterpieces to come.

Hitchcock Marathon

formative hitchcock, occasionally *brushed* with greatness. the 75-minute picture has an odd gait, but the set-pieces are among hitchcock's greatest (beyond the royal albert hall sequence, the chair brawl is a classic comic tussle), the inimitable peter lorre is a twisted villain, and the whole thing is guided by a winking wit that picks up the slack left by its logic. when it comes to early hitchcock, i tend towards his slightly more coherent fare (i.e. THE LADY VANISHES), but this has ample rewards, and the loaded criterion edition is essential for even the most casual fans.

Obviously, it's fantastic, but I wasn't expecting it to be so absolutely enthralling. Peter Lorre is superb.

youtu.be/tsjpqyKDLKY

Despite some oddly undercooked editing, which leaves several exciting scenes to stand with basic imagery alone, i.e. without quickly cuts, dynamic cinematography, or music to indicate intensity, there are still some interesting narrative ideas at play in Hitchcock's original TMWKTM, such as the deliciously fitting ending in which a mother's defense of her child is executed by means that aren't the most immediately expected yet foreshadowed at the outset of the relatively short feature. It's Hitchcock's holistic approach to narrative that jolts the film to life; though, admittedly, the less plot-heavy gunfight scenes towards the end are excitingly ambitious and effective at establishing stakes.

With:
Where: TV in dorm

I really want to be in a Peter Lorre led criminal posse.

The family drama is quite good, but the climactic shootout goes on for forever. The remake's performances are far less idiosyncratic, but it's definitely superior in terms of action.

Hitchcock may have polished this story up in his 1956 remake of the same name, added some heft with James Stewart and Doris Day and in colour too. He also added a needless 45 minutes to the running time with albeit elaborately staged set-pieces but i found it lost it's mystery early on.

This black and white take with one of the most unique faces a villain has ever possessed, Peter Lorre's Abbott cuts a character of real intrigue and steals every scene. It's paced superbly and has a director still experimenting with the camera, with this film being dubbed as the first "Hitchcockian" flick. More enjoyable than it's counter part and done with a fraction of the budget.

Solid early Hitchcock, stripped down to the essentials. A number of good set pieces, including a stunning shootout finale. My only quibble is that I prefer Hitchcock's 1956 remake to the original.

Albeit a bit frantic at the start and clumsily overdrawn at its conclusion, Hitch's visual imagination is in top form throughout, and once the story gets moving (and before the principle drama comes to an end), the tension remains high and the pacing thrilling.