A French intelligence agent becomes embroiled in the Cold War politics first with uncovering the events leading up to the 1962 Cuban Missle Crisis, and then back to France to break up an international Russian spy ring.
There is a dead well dressed man in a meadow clearing in the hills above a small Vermont town. Captain Albert Wiles, who stumbles across the body and finds by the man's identification that his name is Harry Worp, believes he accidentally shot Harry dead while he was shooting for rabbits. Captain Wiles wants to hide the body as he feels it is an easier way to deal with the situation than tell the authorities. While Captain Wiles is in the adjacent forest, he sees other people stumble across Harry, most who don't seem to know him or care or notice that he's dead. One person who does see Captain Wiles there is spinster Ivy Gravely, who vows to keep the Captain's secret about Harry. One person who Captain Wiles sees but doesn't see him back is young single mother Jennifer Rogers, who is the one person who does seem to know Harry and seems happy that he's dead. Later, another person who stumbles across both Harry and Captain Wiles is struggling artist Sam Marlowe, to who Captain Wiles ... Written by
The film was unavailable for decades because its rights (together with four other pictures of the same period) were bought back by Alfred Hitchcock and left as part of his legacy to his daughter. They've been known for years as the infamous "5 lost Hitchcocks" among film buffs, and were re-released in theaters around 1984 after a 30-year absence. The others are The Man Who Knew Too Much (1956), Rear Window (1954), Rope (1948) and Vertigo (1958). See more »
After he draws Harry's feet, Sam puts the paper block under his left arm with the beginning of his sketch barely visable (This might be caused by the lighting). In the next shot as Sam is leaning over Harry's body the charcoal on Sam's sketch is darker and more complete. See more »
You're not supposed to bury bodies whenever you find them. It makes people suspicious.
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The drawings behind the opening credits are by artist Saul Steinberg, reportedly echoing elements of paintings by Paul Klee, whose work Hitchcock collected. Steinberg received no on-screen credit. See more »
This film is a deviation from Hitchcock's normal subjects. Sure, there is murder and intrigue, yet somehow a strange comical effect.
The trouble with Harry is black comedy at its finest. Nobody but good old Sir Alfred could make a mockery of a dead body lying in the woods. But Hitchcock revels in the role, displaying wit and character to a timeless film. He's done it again!
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