Dr. Ben McKenna, his wife Jo and their son Hank are on a touring holiday of Africa when they meet the mysterious Louis Bernard on a bus. The next day Bernard is murdered in the local marketplace, but before he dies he manages to reveal details of an assassination about to take place in London. Fearing that their plot will be revealed, the assassins kidnap Hank in order to keep the McKenna’s silent. Ben and Jo go to London and take matters into their own hands. —IMDb
Alfred Hitchcock has been the most well-known director to the general public since the 1940s – and he remains so in the 21st century, more than 25 years after his death. His name evokes instant expectations on the part of audiences around the world: of a memorable night of movie-watching highlighted by at least two or three great chills (and a few more good ones), some striking black comedy, and an eccentric characterization or two in virtually every one of the director’s movies across a half-century – and usually laced with a comical cameo appearance by the director himself.
Alfred Joseph Hitchcock was born into a devoutly Catholic family in London, and his religious upbringing – with its attendant issues of guilt – would have a powerful influence on the psychological underpinnings of his later work. He was trained at a technical school, and initially gravitated to movies through art courses and advertising. He studied the work of other filmmakers, most notably the German expressionists… read more
Minus Lorre and full of the longeurs expected from a Big Hollywood Remake of the pithy, beloved original (LOL at Moroccan couches!, Doris Day absolutely has to sing), but a largely British cast play out of their skins, and elevate the film immeasurably; De Banzie, Miles, plus creepily suave Frenchman Gelin (easily trumping Fresnay from the original) veritably ooze queasy menace, and make the film memorable.
Altro filmone di Sir Alfred.L'inizio intriga parecchio,poi nella parte centrale si appiattisce un pò tra l'intrigo spionistico e il rapimento,ma poi si eleva alla grande con il momento della Royal Albert Hall,in cui Hitchcock crea una grandiosa suspence con un montaggio sublime e una musica emozionante.Mi hanno emozionato le due fasi con le canzoni di Doris Day.Forse un pò distante dai suoi capolavori,ma cmq ottimo.
Unlike its superior British original this glossy remake has a weaker villain, a precocious kid, an entire sequences that were much better in the original. Though that's not to say it isn't solid entertainment, since Stewart does good with what he's given and Hitchcock still know how to push an audience's buttons.
In honor of Bernard Herrmann’s centennial retrospective in New York, a note on two of his very best, and smallest, pieces of music.
There is a terrific series titled ”Auto-Remakes” starting today at Anthology Film Archives in New York. The series, which runs through March