ViewGuide

Created Dec 29, 2009 08:29PM PST • Edited May 17, 2016 11:27PM PST

1. Quality

2. Summary

   Great 4.0

   Though more than a little dated, the original Man Who Knew Too Much remains a must see for fans of spy thrillers and classic filmcraft. Dryer than a vermouth-free martini, perfectly shot in high contrast B&W and crafted in such accomplished fashion that Hitch’s nickname – The Master – could have been earned here alone, this elegant movie thrills and tickles in equal measure.

   Though Hitch considered his 1956 remake superior, this version rewards even casual fans of The Master with its droll charm, clever set pieces and iconic performances. Plus it provides the basis for yet another of Hitchcock’s monikers: The Man Who Knew Too Much, Himself.

4. Acting

   Very Good 3.5

   The inimitable Peter Lorre makes his first English language appearance in The Man Who Knew Too Much. Iconically creepy as a soul-dead agent with a Frankenstein-quality scar running down his face, he apparently bamboozled Hitch into thinking he knew English. In reality, he learned his lines phonetically.

5. Male Stars Great 4.0

6. Female Stars Great 4.0

7. Female Costars Good 3.0

8. Male Costars Good 3.0

10. Film

    Really Great 4.5

    Considerable context gets covered in the classic Hitch opening shot, proving yet again what a consummate craftsman he was.

11. Direction Perfect 5.0

    Hitchcockian perfection.

12. Play Great 4.0

    A glamorous couple unwittingly become involved in international espionage, have their family threatened, and must evade both good and bad guys to save everything: Consider this a classic action thriller plot.

13. Music Good 3.0

14. Visuals Perfect 5.0

    From glam St. Moritz to a splendid concert at the Royal Albert Hall, the film travels to posh places.

15. Content

16. Edge

    Tame 1.3

    Much jeopardy, though hardly enough to come close to shocking us now.

17. Sex Innocent 1.2

18. Violence Fierce 1.6

19. Rudeness Polite 1.2

21. Reality

    Glib 1.4

    Consider this another of the Master’s surreal feints towards the looming prospect of war between England and Nazi Germany. Though the Nazis are never mentioned, Peter Lorre’s head villain comes across as Germanic and the timing of the movie coincided with their rise. Thus did popular culture pace Realpolitik.

22. Circumstantial Surreal 2.3

23. Biological Natural 1.0

24. Physical Natural 1.0