A man in London tries to help a counterespionage agent. But when the agent is killed and he stands accused, he must go on the run to both save himself and also stop a spy ring trying to steal top secret information.
A murder inside the Louvre and clues in Da Vinci paintings lead to the discovery of a religious mystery protected by a secret society for two thousand years -- which could shake the foundations of Christianity.
Professor Michael Armstrong is heading to Stockholm to attend a physics conference accompanied by his assistant-fiancée Sarah Sherman. Once arrived however, Michael informs her that he may be staying for awhile and she should return home. She follows him and realizes he's actually heading to East Germany, behind the Iron Curtain. She follows him there and is shocked when he announces that he's defecting to the East after the US government canceled his research project. In fact, Michael is there to obtain information from a renowned East German scientist. Once the information is obtained, he and Sarah now have to make their way back to the West. Written by
In the documentary "Plotting Family Plot", Actor Bruce Dern (who worked with Alfred Hitchcock in Marnie and Family Plot) revealed that Hitchcock was very upset that he had to pay Julie Andrews and Paul Newman $750,000 apiece to do Torn Curtain. See more »
In the farmhouse scene when Professor Armstrong is fighting with Gromek, Gromek is choking Professor Armstrong but Armstrong shows no signs of it, i.e. bruising, in later scenes. See more »
Professor Karl Manfred:
Are they ever going to get the heating fixed?
They are working at it, Professor. Perhaps some of you scientists would like to give us a helping hand!
See more »
In many ways, Hitchcock often wore the same pants.
Hitchcock made a few clunkers in his day, but this isn't one of them, despite its reputation. I don't know if I could get away with saying it's one of Hitchcock's ten best features, but I found it to be easily one of his top ten most entertaining. I enjoyed watching Torn Curtain a lot more than some of his established classics, like Notorious and the Birds, even if it's not quite as psychologically complex as those films.
The main thing about Torn Curtain is the photography. It's full of pretty pictures--one of the most beautifully filmed of all Hitchcock's films, with lots bold swaths of primary colors and attractive and constantly changing locations--some scenes look like they were shot on location, while others are wonderfully artificial studio creations, and they're blended together perfectly. Another cool thing about Torn Curtain is that it's constantly on the move. It never stagnates. The pacing is deliberate, but engaging. It's well-plotted and suspenseful.
It's full of fantastic little directorial touches, like the scene where Paul Newman ducks into a bathroom to read his secret spy message. Hitchcock never shows us the room. He keeps the camera tight on Paul Newman, so we can't tell who or what might be in that room with us, just out of frame. It's totally simple, but it creates a highly effective feeling of uneasiness and paranoia. This movie also features one of the strangest and best-filmed death scenes I've ever seen. Hitchcock was still on top of his game here.
Most of the bad reviews for Torn Curtain seem to focus on the acting. I don't know why.
A lot of people bash Julie Andrews just for being Julie Andrews, and that hardly seems fair. Typecasting sucks. And while I wouldn't say she turned in one of the most memorable and overpowering performances of all time, her role didn't call for that. Torn Curtain wasn't a complex character study, it was a plot-based thriller. And Julie Andrews was perfectly adequate for that, even pretty good when she was given a chance to be.
Paul Newman was perfect. He wasn't his usual charming self here. He was grim and tight-lipped and stiff--as would be appropriate for a scientist feeling out of his league, playing a spy in a hostile country, having to pretend to be a traitor--a role which he found objectionable--all with his girlfriend annoyingly tagging along and complicating everything.
I understand that Paul Newman found working for Hitchcock objectionable. It makes me wonder if Hitch deliberately made life unpleasant for Paul just to get this kind of tooth-gritting performance from him. Whatever, Hitch and Paul were both great.
And so was this film.
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