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.
Alice White is the daughter of a shopkeeper in 1920's London. Her boyfriend, Frank Webber is a Scotland Yard detective who seems more interested in police work than in her. Frank takes ... See full summary »
A botched card game in London triggers four friends, thugs, weed-growers, hard gangsters, loan sharks and debt collectors to collide with each other in a series of unexpected events, all for the sake of weed, cash and two antique shotguns.
A high ranking Russian official defects to the United States, where he is interviewed by US agent Michael Nordstrom. The defector reveals that a French spy ring codenamed "Topaz" has been passing NATO secrets to the Russians. Michael calls in his French friend and counterpart Andre Devereaux to expose the spies. Written by
Col Needham <firstname.lastname@example.org>
According to Donald Spoto's book "The Art of Alfred Hitchcock: Fifty Years Of His Motion Pictures", Universal Pictures executives forced this project on Alfred Hitchcock. See more »
Andre puts the "money" in his left breast pocket, but when he goes to retrieve it at the florist, he retrieves first the drawing (which is still also in his left breast pocket), but then pulls the envelope with the money out of his right breast pocket. See more »
Opening credits prologue: Somewhere in this crowd is a high Russian official who disagrees with his government's display of force and what it threatens. Very soon his conscience will force him to attempt an escape while apparently on a vacation with his family. Copenhagen, Denmark Nineteen Hundred Sixty-two See more »
This movie is not the best one Hitchcock has ever made I totally agree, but it does have some very good scenes. For example the opening scenes are filled with action. And I don't mean the Rambo-kills-all-evil-guys kind of action, but the ways in which the scenes are shot and thereafter edited, the camera angles, this subtle creation of 'suspense' Alfred Hitchcock is so well known for. I also remember the scene in which Juanita is killed, where again the camera angle is chosen splendidly so that her beautiful dress fills the screen. This is one of the most aesthetic killings I've ever seen. So the superior talent of the unquestionable master surely is present some times. So if one learns to value these moments and neglects the terribly eclectic plot (Hitchcock was forced to extremely cut down the movie), it's not so bad a movie after all.
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