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
The British original had its problems, so a remake needn't be a bad thing. Pros: at least two great Hitchcock shots, a flicker of moral ambiguity, James Stewart does his thing, the Albert Hall setpiece still works, and the annoying little boy gets kidnapped. Cons: No Peter Lorre, slow pacing with just as many plotholes and less giddiness, I dislike Doris Day on principle, and the little boy gets rescued. 3 stars.
Tutta la scena del teatro vale la visione. L'inizio ci mette un po' a ingranare, e il film ha qualche ripensamento di troppo specialmente nella parte centrale, però Hitchcock dirige sempre con classe fuori scala e culmina nella scena del tentato omicidio che è perfetta per costruzione, tensione e semplice bellezza del quadro. 4-
Less a true Hitchcockian thriller, than an anti-Hitchcockian melodrama that Hitch plays to perfection, repurposing every element of his cinema to that of sincerity, rather than detachment, ending in one of the most inappropriately appropriate jokes ever put on screen.
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