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Directed by | |||
| Alfred Hitchcock | |||
Writing credits | ||
| Thornton Wilder | (screenplay) & | |
| Sally Benson | (screenplay) & | |
| Alma Reville | (screenplay) | |
| Gordon McDonell | (from an original story by) | |
Produced by | |||
| Jack H. Skirball | .... | producer | |
Original Music by | |||
| Dimitri Tiomkin | |||
Cinematography by | |||
| Joseph A. Valentine | (director of photography) (as Joseph Valentine) | ||
Film Editing by | |||
| Milton Carruth | |||
Art Direction by | |||
| John B. Goodman | |||
Set Decoration by | |||
| Russell A. Gausman | (set decorations) (as R.A.Gausman) | ||
Costume Design by | |||
| Vera West | (costumes) | ||
Second Unit Director or Assistant Director | |||
| William Tummel | .... | assistant director | |
| Ralph Slosser | .... | second assistant director (uncredited) | |
Art Department | |||
| Robert F. Boyle | .... | associate art director (as Robert Boyle) | |
| Edward R. Robinson | .... | associate set decorator (as E.R. Robinson) | |
| Dorothea Holt | .... | illustrator (uncredited) | |
Sound Department | |||
| Bernard B. Brown | .... | director of sound | |
| Robert Pritchard | .... | technician | |
Visual Effects by | |||
| John P. Fulton | .... | special photography (uncredited) | |
Costume and Wardrobe Department | |||
| Adrian | .... | gowns: Teresa Wright | |
Music Department | |||
| Charles Previn | .... | musical director | |
Other crew | |||
| Adele Cannon | .... | set continuity | |
Thanks | |||
| Thornton Wilder | .... | we wish to acknowledge the contribution of, to the preparation of this production (as Mr. Thornton Wilder) | |
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| So Sweet, So Dead | Greed | Giant | Suspicion | The Best Years of Our Lives |
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| Full cast and crew | Company credits | External reviews |
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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'.)
Enjoy!