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.
A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people there in increasing numbers and with increasing viciousness.
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 Alfred Hitchcock, this was another of his experimental movies. In addition to the dialogue, the plot is revealed through the use of colors, predominantly red, yellow and white. He admits that this did not work out. See more »
After Juanita de Cordoba falls to the ground dead having just been shot with a .45 semi automatic, we see the hammer of the pistol down and not cocked. The slide would re-cock the hammer to be ready for the next shot or stay locked back if there were no more bullets in the clip. 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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