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The Trouble with Harry (1955) Poster

Trivia

Jump to: Director Cameo (1)
One of Alfred Hitchcock's favorites of all his films.
Originally designed by Alfred Hitchcock as an experiment in seeing how audiences would react to a non-star-driven film. He was of the opinion that oftentimes having a big star attached actually hindered the narrative flow and style of the story. He also developed the film with a view to test how American audiences would react to a more subtle brand of humor than that which they were used to.
Location filming in Vermont was hampered by heavy rainfall. Many exterior scenes were actually filmed on sets constructed in a local high school gymnasium. Much of the dialogue recorded there was inaudible due to the rainfall on the tin roof, so much post-recording was necessary.
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).
Film debut of Shirley MacLaine.
"What seems to be the trouble, Captain?" was Alfred Hitchcock's favorite line from all his movies.
When Music Composer Lyn Murray was working on the music score for To Catch a Thief (1955), Alfred Hitchcock was already looking for a composer for this film, which was to be his next. So Murray suggested Bernard Herrmann. This was the beginning of the long professional relationship between Hitchcock and Herrmann.
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Although this was a failure in the US, it played for a year in England and Italy, and for a year and a half in France.
Due to the indifferent weather conditions in Vermont, boxes and boxes of autumnal leaves were shipped back to California where they were painstakingly pinned onto trees on a studio soundstage.
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Bernard Herrmann's score was Alfred Hitchcock's favorite of the seven films they did together.
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Philip Truex cameo as the deceased title character is his last appearance in a film.
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Alfred Hitchcock bought the rights to the original novel anonymously for just $11,000.
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Several scenes had to be shot in a rented high school gym because of the rain. In the gym, a 500-lb. Technicolor camera fell from a great height, narrowly missing Alfred Hitchcock.
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Edmund Gwenn's fourth and last film with Alfred Hitchcock.
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The stained glass lampshade which appears in the Captain's house was also used for set dressing in Hitchcock's film "The Man Who Knew Too Much."
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The old car driven by the deputy sheriff is an English car with the steering wheel on the right. At one point the deputy is shown driving it on the left side of the road as in England rather than on the right.
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Alfred Hitchcock insisted on using a real actor for the body of Harry. He chose Philip Truex.
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The poem that the doctor is reading when he finally discovers the body is Sonnet 116 by William Shakespeare.
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Composer Bernard Herrmann arranged his themes from this film into a concert suite he called "A Portrait of Hitch".
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When Sam Marlowe guesses Miss Ivy Gravely's age, he guesses 50. She then tells him she is only 42. The actress playing her was born in 1905, making her 50 years old.
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Harry gets dug up three times throughout the film.
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Parts of Bernard Herrmann's score was lifted from the music he had composed for a radio series called "Crime Classics".
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Jack Trevor Story's original novel, published in 1949, is set in post-war England, not America in the mid-1950s. There would seem to have been some censorship problems with the adaptation; in the book, the young son (who has a different name) is the illegitimate offspring of an RAF pilot killed on a bombing raid, and Harry has married the unwed mother to prevent a stain falling on the family honor. There is also an extra character in the book - an unsavory war profiteer - who is elided from the film completely.
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Director Cameo 

Alfred Hitchcock: about 20 minutes in, walking past the limousine of a man looking at the paintings.

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