American expatriate John Robie living in high style on the Riviera is a retired cat burglar. He must find out who a copy cat is to keep a new wave of jewel thefts from being pinned on him. High on the list of prime victims is Jessie Stevens, in Europe to help daughter Frances find a suitable husband. The Lloyds of London insurance agent is using a thief to catch a thief. Take an especially close look at scene where Robie gets Jessie's attention, dropping an expensive casino chip down the décolletage of a French roulette player. Written by
Dale O'Connor <email@example.com>
Cary Grant had announced his retirement from acting in February 1953, stating that since the rise of Method actors like Marlon Brando, most people were no longer interested in seeing him. He was also angry at the way Charles Chaplin had been treated by the HUAAC. He was lured out of his retirement to make this film, and thereafter, continued acting for a further 11 years. See more »
When John and Frances first arrive for their "picnic" and John is standing at the back of the car, his shadow can be seen on the backdrop of the canvas, a flat shadow, which would not be possible in the natural conditions which the canvas depicts. See more »
Are you sure you were talking about water skis? From where I sat it looked as though you were conjugating some irregular verbs.
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The best thing about this film is the chemistry between leads Grant and Kelly. Grant is as debonair as usual and Kelly was never more glamorous. The costumes she wears are very flattering to her and she is to the clothes. The dialogue between them sparkles throughout and is a pleasure to watch even if the course of their relationship is predictable. Grant's self-deprecating in-jokes are another nice touch. Further pleasantly adding to the fantasy ambience is the spectacular photography of the French riviera. John Williams is also great as the insurance investigator, the type of character he played in Hitchcock's Dial M for Murder (also with Kelly) and in the Doris Day-Rex Harrison film, Midnight Lace. This film is not one of the most psychologically involving in Hitchcock's pantheon but it is not designed to be. It is enjoyed best as what it was produced to be: glossy high production value escapist fare. 8/10.
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