Being a Hitchcock movie, i expected this to be more intriguing and not so predictable. The slow start doesn't helped so much and after that some moments were very sloppy. In the end i was already too bored. The Man Who Knew Too Much definetly and unfortunately is not on the same high level which Hitchcock reached in some other grand movies. This is just average. 5.5/10
Good satire. James Stewart is so damn rational, he's a doctor for god's sake! Also, people talk about John Cazale's short lived and insanely successful career, but what about Christopher Olsen? Starred in Bigger Than Life, The Man Who Knew Too Much, and The Tarnished Angels in a two year period. Perfect as the put-upon child of post-war anxious parents.
Let's be clear, an average Hitchcock movie is an excellent movie by everyone else, and so I still give four stars even though this isn't one of my favourites from the master of suspense. I think Hitchcock lost his way through parts of this film, and it's true that the Doris Day singing parts are rather more, because she could, rather than, because she should. The characters and the plot are slightly unbelievable too.
Apparently Hitch only remade this to get out of a picture deal, but he turns out a memorable mid 50s thriller. I personally wouldve liked to see him redo the 39 steps, as its my fav of his 30s flicks. The Albert Hall scene is memorable, but this one falls short of other 50s classics from Hitch (Vertigo, N by NW, Dial M, etc). Solid 4 stars though
Seeing Hitchcock's transformation from the original Man Who Knew Too Much and this version is astounding. Nonetheless, like many other Hitchcock films, the best moments are unspoken, purely visual taking full advantage of the medium. This is bogged down by lengthy chatting and it's large set pieces.
Parallel mother figures, how patriarchy attempts to silence female autonomy & expression, Stewart's manipulations, his masculine failure. A mise en scene crammed with secret looks, thoughts. Eyes are always quietly absorbing information. Misunderstanding ensues, prejudice solidifies. Rohmer is right about the film's investment in the dichotomy between free will & predestination; gender politics are of equal concern.