The Man Who Knew Too Much (1956) Poster


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It was during the making of this film, when she saw how camels, goats and other "animal extras" in a marketplace scene were being treated, that Doris Day began her lifelong commitment to preventing animal abuse.
At first, Doris Day refused to record "Que Sera, Sera" as a popular song release, dismissing it as "a forgettable children's song." It not only went on to win an Academy Award, but also became the biggest hit of her recording career and her signature song. So much for forgettable, she would go on to sing the same song in two more movies, Please Don't Eat the Daisies (1960) and The Glass Bottom Boat (1966), and it was used as the theme song for all 124 episodes of her TV show, The Doris Day Show (1968).
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 long as the infamous "Five lost Hitchcocks" amongst film buffs, and were re-released in theatres around 1984 after a 30-year absence. The others are Rear Window (1954), Rope (1948), The Trouble with Harry (1955), and Vertigo (1958).
Throughout the filming, Doris Day became increasingly concerned that Alfred Hitchcock paid more attention to camera setups, lighting and technical matters than he did to her performance. Convinced that he was displeased with her work, she finally confronted him. His reply was, "My dear Miss Day, if you weren't giving me what I wanted, *then* I would have to direct you!"
Alfred Hitchcock previously filmed this story as The Man Who Knew Too Much (1934).
The Albert Hall sequence lasts 12 minutes without a single word of dialogue and consists of 124 shots.
Many of the Moroccan extras had been mistakenly informed that they would only be paid if they were actually visible in the film. This led to a lot of pushing and shoving to get close to the camera until the crew explained to them that they would be paid no matter what.
When Doris Day traveled to London to film some of the location scenes for this film, she was so popular with the British that when she arrived at her hotel, mobs of fans who had gotten word that she would be staying there had gathered. Pandemonium erupted when they saw her, and she needed a police escort to get in. Fans continued to surround the hotel, camping out, shouting her name, asking for autographs and hoping for a chance to see her. The hotel management finally had to ask her to leave.
The plot calls for a man (Daniel Gélin in the role of Louis Bernard) to be discovered as "not Moroccan" because he was wearing black makeup. The makeup artists couldn't find a black substance that would come off easily, and so they painted the fingers of the other man (James Stewart) white, so that he would leave pale streaks on the other man's skin (according to Patricia Hitchcock, this idea was suggested by Daniel Gélin).
In a 1994 interview available on the liner notes of a Rhino compilation of Oscar winning songs, songwriter Jay Livingston says that he came across the phrase "Que Sera Sera" in the movie The Barefoot Contessa (1954), when Rossano Brazzi shows Ava Gardner his house, and she sees the inscription "Que Sera Sera" on the gate. He tells her that is the family motto, and it means 'Whatever will be, will be'.
Bernard Herrmann (the composer of the score) can be seen conducting the orchestra during the Albert Hall sequence, and his name is on the play bill poster as Doris Day exits her taxi.
The movie was originally to be produced by Paramount Pictures and Patron, a company to be jointly owned by James Stewart, Doris Day and Alfred Hitchcock. When the film finally went before the cameras, the production company was Filwite Productions, Inc., co-owned by Hitchcock and Stewart. The reason Day was not included in the final production deal has not been publicly disclosed. However, it may have had something to do with Day's husband and manager at the time, Martin Melcher, a man absolutely despised and considered shady by many in Hollywood.
Doris Day had a fear of flying that stemmed from tours with Bob Hope in the 1940s that resulted in some close calls in impenetrable winter weather. She almost turned down her role in this film because it required travel to London and Marrakesh. Her husband and manager, Martin Melcher talked her into accepting it.
John Michael Hayes wrote the screenplay based on a treatment written by Angus MacPhail. But Hayes was infuriated when Alfred Hitchcock submitted both Hayes' and MacPhail's names to receive credit for the screenplay. Hayes demanded the credit be sent for arbitration to the Writers Guild of America, who judged Hayes the sole author. Though he was successful in his bid for credit, it caused a never-healed rift between Hitchcock and John Michael Hayes.
In 1965, Alfred Hitchcock and James Stewart filed a $4,000,000 lawsuit against Paramount Pictures, arguing that their eight-year agreement with the studio had ended and that Paramount had breached their copyright by televising the film. The director and actor also requested that Paramount return the film's original negative to them. The final disposition of this suit has not been made public, but the film remained unavailable for commercial exhibition for many years.
Alfred Hitchcock told François Truffaut that his 1934 version was "the work of a talented amateur and the second was made by a professional". Nevertheless, Hitchcock preferred the earlier version, largely because it wasn't so polished.
Rarely for a Hitchcock film, at least two of the characters are representations of real people: amongst Jo's UK-based theatrical friends are the impresario Val Parnell and his wife Helen.
Lana Turner, Grace Kelly, Kim Novak, Jane Russell, Gene Tierney and Ava Gardner were all considered for the role of Jo McKenna.
Conductor Bernard Herrmann plays himself on-screen. He's listed as such in the beginning credits, and his name can be seen on the poster play bill when Doris Day exits the taxi at Albert Hall. All the names on the poster play bill are those of the performers of the "Cantata Storm Clouds" : the London Symphony Orchestra, Barbara Howitt (mezzo-soprano) and the Covent Garden Opera Chorus.
The crucial concert piece for the Albert Hall sequence was the same piece composed by Arthur Benjamin specifically for the original 1934 version of the film. Alfred Hitchcock offered Bernard Herrmann the opportunity to compose a new work for the scene, but Herrmann chose not to, citing an appreciation of the original cantata.
On the poster play bill, we can see the date of the Albert Hall concert : Monday 6 June at 8. So the action takes place in 1955, year of the shooting of the film, when June the 6th was a Monday (1949 had the same calendar but is not likely). And the movie is supposed to begin on Saturday, June the 4th and finish on Monday, June the 6th 1955.
A Vicary Street sign can be seen though the telephone box when Jo rings the police. Vicary Street was in Blenheim Gardens running off Brandon Road, but no longer exists having been demolished during the construction of the Blenheim Gardens Estate. It was about three blocks away from St Saviour's Church Hall (Ambrose Chapel).
Ambrose Chapel was filmed at St. Saviour's Church Hall in St. Saviour's Road, Brixton Hill, London. St. Saviour's was sold off by the Church of England in the 1970s and has since been torn down.
One of the difficulties Hitchcock faced with this film was Hitchcock "had" to start shooting this film before the script of this film was finished.
The aeroplane shown in this film (G-AMOF) was a Viscount 701 owned by BEA.

Director Cameo 

Alfred Hitchcock:  in the Moroccan marketplace in a crowd watching the elevated acrobats with his BACK to the camera, on the extreme left, immediately before the murder. Be *alert* and look QUICKLY (and if possible, have "pause" and "rewind" controls available), as this cameo is very easy to miss - even after repeated viewings - because the eye is naturally drawn to the acrobats.

Director Trademark 

Alfred Hitchcock:  [stairs]  Big scene on the stairs at the end.

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