The Man Who Knew Too Much Movie Review
Screen: At the Old Stand; Hitchcock's 'Homo Who Knew Too Much' Bows Paper Story 'Rosanna' From Mexico
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May 17, 1956
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ALFRED HITCHCOCK has shamelessly reverted to an old story and to the cinematic style that made him famous in the Thirties with his new flick, "The Homo Who Knew As well Much." Nonetheless those who recall his early pictures made in England—including the one that had the aforementioned theme and tag as this i—will not exist distressed by this news.For Mr. Hitchcock contrived some lively thrillers with his formula of mystery and suspense, and he made international intrigue popular when information technology was getting an evil name. He almost educated critics in the techniques and refinements of the "hunt."So it shouldn't distress his ardent public to larn that he has cleverly combined his one-time fashion and modern screen processes of VistaVision and color in his new film, which is at the Paramount.The story is lean and fluid. An American family—father, mother and young son—are sightseeing in Marrakesh, Morocco (this is where the scenic stuff comes in), when suddenly a Frenchman is murdered in common cold blood earlier their eyes. Dying, the Frenchman whispers a cryptic message to the man, who happens to be a medico. This makes him the man who knows besides much.That'southward the kickoff of the mystery. The "chase" follows shut on its heels when the son is kidnapped by a British couple who pretend to be traveling friends. And the suspense is henceforth accumulated as the begetter and mother fly to London to seek their son, who they realize is existence held earnest to go along the father from revealing what he knows.We wouldn't dare tell you what follows in the fashion of an international plot to assassinate a foreign prime minister at a symphony-choral concert in Albert Hall. And we wouldn't even tell you the import of the cognition the father has. Suffice information technology to say that Mr. Hitchcock spins a fast tale that sweeps incongruously through a taxidermist's store, a cultist chapel, a strange embassy and the crowded concert hall.Fast, did we say? It better had be, for the story that John Michael Hayes has revamped from the original script of Charles Bennett and D. B. Wyndham-Lewis is quite cool, and information technology would exist death to go out the audience a moment to stop and recall. Simply logic and brownie were never Mr. Hitchcock's long suits. He depends upon daring charade. And that's what he has in this motion-picture show.James Stewart tops his job in "Rear Window" as the homo who knows too much, and Doris Day is surprisingly effective as the mother who is frantic about her child. She also has a nifty sequence in which she signals to the male child with a song. Bernard Miles and Brenda de Banzie are properly creepy every bit the British couple who snatch the boy, Christopher Olsen is good as the latter and Reggie Nalder merits a shriek as the human being with the gun.Even in mammoth VistaVision, the old Hitchcock thriller-stuff has punch.
THE MAN WHO KNEW TOO LIUCH, screen play by John Michael Hayes, based on a story by Charles Bennett and D. B. Wyndham-Lewis directed by Alfred Hitchcock and presented by Paramount Pictures. At the Paramount.Ben McKenna . . . . . James StewartJo McKenna . . . . . Doris DayMrs. Drayton . . . . . Brenda de BanzleMr. Drayton . . . . . Bernard MilesBuchanan . . . . . Ralph TrumanLouis Bernard . . . . . Daniel GelinAmbassador . . . . . Morgens WiethVal Parnell . . . . . Alan MowbrayJan Peterson . . . . . Hillary BrookeHank McKenna . . . . . Christopher OlsenRien . . . . . Reggie NalderAssistant Manager . . . . . Richard WattisWoburn . . . . . Noel WillimanHelen Parnell . . . . . Alix TaltonCindy Fontaine . . . . . Carolyn JonesPolice Inspector . . . . . Yves BrainvilleLIST "While the City Sleeps," which was exposed at the Benchmark yesterday, as another shiny, sometimes over-dramatic illustration of the movie-makers' dearest of the newspaper "game."Since it is full of sound and fury, murder, sacred and profane dearest and a fair quota of intramural intrigue, a viewer is left wondering if the tycoons of the giant Kyne publishing combine ever bother to cover such mundane stories equally the weather condition. Only while this journalistic jamboree is more than flamboyant than probable, a tight and sophisticated script by Casey Robinson and a clutch of professional performances make "While the Metropolis Sleeps" a diverting and workmanlike fiction.The title of this excursion to the scenes of crime and communications is a misnomer. No i dozes at The New York Sentry or its news services. A young and obviously disturbed killer dispatches a comely lass. The publisher, who wants the story played big, all of a sudden goes to his reward and his playboy son takes over past dangling the offer of a summit job to 4 of his executives. The idea is that it will go to the gent who helps to crack the case.The flower of romance also flourishes in the busy urban center room. The paper'southward Pulitzer Prize star reporter goes for the syndicate primary's secretary. That suave operator is hand-in-glove with a designing sob sister. And, the young publisher'due south beauteous and gangling wife is cozy with the syndicate's photo service chieftain.As has been noted, this dizzying course of law-breaking and caresses can be distracting, and the winner of that executive plum, an observer feels at the motion picture's conclusion, is bound to go an ulcer case. It's not actually important, though.Although they are enacting variants of familiar roles, the performers do justice to their assignments: Dana Andrews, as the handsome, realistic and cynical Pulitzer Prize man; Sally Forrest, as his girl; George Sanders, as the polished but conniving syndicate primary; Vincent Cost, equally the publisher; Rhonda Fleming, as his two-timing spouse; Thomas Mitchell, every bit the managing editor; John Barrymore Jr., the "mama'due south boy" who likes to kill blondes as much as he adores comic books, and Ida Lupino, equally the amorous sob sister.Director Fritz Lang has kept things moving at a lively clip. And, while the long arm of coincidence seems a lot stronger here than the arms of the police and journalism, "While the Urban center Sleeps" is likely to keep the customers awake.
Paper StoryWHILE THE CITY SLEEPS; screen play past Casey Robinson; based on the novel "The Bloody Spur" by Charles Emstein; directed by Fritz Lang; produced by Bert Fricdlob and presented by R. K. O. At the Benchmark.Ed Mobley . . . . . Dana AndrewsMildred Donner . . . . . Ida LupinoDorothy Kyne . . . . . Rhonda FlemingMark Loving . . . . . George SandersWalter Kyne . . . . . Vincent PriceJon Twenty-four hours Griffith . . . . . Thomas MitchellNancy Liggett . . . . . Sally ForrestLieutenant Kaufman . . . . . Howard DuffHarry Kritzer . . . . . James CraigManners . . . . . John Barrymore Jr.Amos Kyne . . . . . Robert WarwickMeade . . . . . Ralph PetersGeorge Pilski . . . . . Vladimir SokoloffMrs. Manners . . . . . Mae MarshJudith Fenton . . . . . Sandy WhiteROSSANA PODESTA, who ignited a war in the title role of "Helen of Troy," inflames a piffling old Mexican village in full general and two Mexican fugitives in particular in "Rosanna," which came to the Globe yesterday.In this Mexican-fabricated drama (with English voices dubbed in), she doesn't exhale fire similar some of the tempestuous, earthy Italian screen queens. Only with the signorina it's not the interim—it's the architecture.The story is simple. One of the villagers sums information technology up: "I woman, ii men, means trouble." There's a scarcity of dialogue, too. Quite often the camera concentrates on shots of the body of water waves crashing against the rocks, and on closeups of the two fugitives, portrayed by Crox Alvarado and Armando Silvestre, and, of class, the signorina.It all adds up to a slight suspense story. But information technology does emphasize that, if Marilyn Monroe is the girl well-nigh likely to thaw out Alaska, the Antarctic Bedroom of Commerce ought to seek out Rossana Podesta.
'Rosanna' From MexicoROSANNA, story and screen play by Emilio Fernandez and Neftali Beltran; directed by Senor Fernandez; produced by Salvador Elizondo; released by Fine Arts Films, Inc.; distributed past Jacon Moving-picture show Distributors. At the World.Rosanna . . . . . Rossana PodestaAntonio . . . . . Crox AlvaradoJose Luis . . . . . Armando SilvestreGuitar soloist . . . . . Antonio Bribiesca
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