| Photos (See all 52 | slideshow) |
| Leslie Banks | ... | Bob Lawrence | |
| Edna Best | ... | Jill Lawrence | |
| Peter Lorre | ... | Abbott | |
| Frank Vosper | ... | Ramon | |
| Hugh Wakefield | ... | Clive | |
| Nova Pilbeam | ... | Betty Lawrence | |
| Pierre Fresnay | ... | Louis Bernard | |
| Cicely Oates | ... | Nurse Agnes | |
| D.A. Clarke-Smith | ... | Police Inspector Binstead (as D.A.Clarke Smith) | |
| George Curzon | ... | Gibson | |
| rest of cast listed alphabetically: | |||
| Frank Atkinson | ... | Policeman Shot Behind Mattress (uncredited) | |
| Betty Bascomb | ... | Minor Role (uncredited) | |
| Tony De Lungo | ... | Hotel Manager (uncredited) | |
| Clare Greet | ... | Mrs. Brockett (uncredited) | |
| Joan Harrison | ... | Secretary (uncredited) | |
| James Knight | ... | Police Inspector (uncredited) | |
| Arnold Lucy | ... | Minor Role (uncredited) | |
| Mitchelson-Hill | ... | Minor Role (uncredited) | |
| Henry Oscar | ... | George Barber - Dentist (uncredited) | |
| Charles Paton | ... | Shopkeeper (uncredited) | |
| Frederick Piper | ... | Policeman with Rifle (uncredited) | |
| H.G. Stoker | ... | Police Chief at Siege (uncredited) | |
| Jack Vyvian | ... | Baker - Policeman Shot at Front Door (uncredited) | |
| Percy Walsh | ... | Detective Inspector (uncredited) | |
| Hal Walters | ... | Postman (uncredited) | |
| S.J. Warmington | ... | Rawlings - Gang Member (uncredited) | |
| Edward Wild | ... | Minor Role (uncredited) | |
Directed by | |||
| Alfred Hitchcock | |||
Writing credits | ||
| Charles Bennett | (by) and | |
| D.B. Wyndham-Lewis | (by) (as D.B.Wyndham Lewis) | |
| Edwin Greenwood | (scenario) and | |
| A.R. Rawlinson | (scenario) | |
| Emlyn Williams | (additional dialogue) | |
Produced by | |||
| Ivor Montagu | .... | associate producer | |
| Michael Balcon | .... | producer (uncredited) | |
Original Music by | |||
| Arthur Benjamin | |||
Cinematography by | |||
| Curt Courant | (photography) | ||
Film Editing by | |||
| Hugh Stewart | (as H.St.C.Stewart) | ||
Art Direction by | |||
| Alfred Junge | |||
Production Management | |||
| Richard Beville | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Pen Tennyson | .... | assistant director (uncredited) | |
Art Department | |||
| Peter Proud | .... | sets (uncredited) | |
Sound Department | |||
| F. McNally | .... | sound recordist (as F.McNally) | |
Visual Effects by | |||
| Albert Whitlock | .... | miniatures assistant (uncredited) | |
Camera and Electrical Department | |||
| Ted Lloyd | .... | camera operator (uncredited) | |
| Peter Sargent | .... | clapper-boy (uncredited) | |
Music Department | |||
| Louis Levy | .... | musical director | |
| Charles Williams | .... | composer: additional music (uncredited) | |
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| Munich | Foreign Correspondent | The Man Who Knew Too Much | Public Enemies | La Grande Illusion |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb UK section |
Although Alfred Hitchcock made several better films than this, including the 1956 remake, The Man Who Knew Too Much is a milestone film for the rotund master of suspense. It was the first film that got him noticed outside the United Kingdom, it led to bigger budgets for Hithcock to work with in British film industry and eventually to his departure for America.
Leslie Banks and Edna Best, Mr.and Mrs. upper class British couple on holiday in Switzerland with their adolescent daughter Neva Pilbeam. A Frenchman they befriend, Pierre Fresnay, is killed right in front of them on a dance floor and he whispers something to Banks about a planned assassination in London to occur shortly. The spies suspect what the dying Fresnay has said to Banks and grab Pilbeam to insure the silence of her parents.
The rest of this short (75 minute) feature is Banks and Best trying to both foil the assassination and get their daughter back. At the climax Best's skill at skeet shooting becomes a critical factor in the final confrontation with the villains.
Peter Lorre made his English language debut in The Man Who Knew Too Much and was very effective with the limited dialog he had. I've often wondered why Hitchcock never used Lorre more in some of his later features.
Although the 1956 version has far better production values, this version still holds up quite well and is worth a look.