A man in London tries to help a counterespionage agent. But when the agent is killed and the man stands accused, he must go on the run to both save himself and also stop a spy ring which is trying to steal top secret information.
Charlotte 'Charlie' Newton is bored with her quiet life at home with her parents and her younger sister. She wishes something exciting would happen and knows exactly what they need: a visit from her sophisticated and much traveled uncle Charlie Oakley, her mother's younger brother. Imagine her delight when, out of the blue, they receive a telegram from uncle Charlie announcing that he is coming to visit them for awhile. Charlie Oakley creates quite a stir and charms the ladies club as well as the bank president where his brother-in-law works. Young Charlie begins to notice some odd behavior on his part, such as cutting out a story in the local paper about a man who marries and then murders rich widows. When two strangers appear asking questions about him, she begins to imagine the worse about her dearly beloved uncle Charlie. Written by
In his interview with François Truffaut on "Shadow" (first published in 1967), Alfred Hitchcock said the dense, black smoke belching from the train that brings Charles Oakley to Santa Rosa was a deliberate symbol of imminent evil. See more »
At the first dinner in the Newton home, Young Charlie is humming the "Merry Widow Waltz," she identifies it as the work of Victor Herbert. It was written by Franz Lehar, but no one disagrees with the Herbert attribution. See more »
Honestly, Father, you'd think Mother had never seen a phone. She has no faith in science. She thinks she has to cover the distance by sheer lung power.
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I own the Hitchcock collection (14 films in toto), and while this isn't my favourite of the bunch ('Psycho' is one of my favourite movies of all time, and 'Birds' never gets old), I like to watch it every now and again to remind myself what it means to make a "suspense film", and why Hitchcock was and always will be the master of this craft.
To give away even the slightest story detail would ruin it for new viewers, because it is essential that everyone begin with the wrong impressions of the major characters. This allows Hitch to pull off his famous 'twists' throughout the course of the movie, hitting you every now and then with something you simply weren't expecting.
One of my favourite elements in the movie is the ongoing dialogue between Henry Travers and Hume Cronyn, avid mystery readers who are constantly discussing the best ways to murder each other. Apart from being a bit of comic relief in an otherwise very dark film, it also demonstrates how lightly people think of murder and murderers...until they encounter them face-to-face.
My advice then, if you want to see this movie, is not to learn anything about it beforehand. Going in with no knowledge will increase the movie's initial impact, and will help you to appreciate why Hitchcock was the 'Master of Suspense'. This is a taut thriller with no gratuitous violence, foul language, or mature situations.
(Hitch considered it 'a family film'.)
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