| Photos (See all 25 | slideshow) |
Directed by | |||
| Alfred Hitchcock | |||
Writing credits | ||
| Leon Uris | (from the novel by) | |
| Samuel A. Taylor | (screenplay) (as Samuel Taylor) | |
Produced by | |||
| Herbert Coleman | .... | associate producer | |
| Alfred Hitchcock | .... | producer (uncredited) | |
Original Music by | |||
| Maurice Jarre | |||
Cinematography by | |||
| Jack Hildyard | (director of photography) | ||
Film Editing by | |||
| William H. Ziegler | |||
Production Design by | |||
| Henry Bumstead | |||
Set Decoration by | |||
| John P. Austin | (set decorations) (as John Austin) | ||
Costume Design by | |||
| Edith Head | (costumes) | ||
Makeup Department | |||
| Leonard Engelman | .... | makeup artist | |
| Larry Germain | .... | hair stylist | |
| Nellie Manley | .... | hair stylist | |
| Bud Westmore | .... | makeup artist | |
Production Management | |||
| Wallace Worsley Jr. | .... | unit production manager (as Wallace Worsley) | |
| Fred Surin | .... | production manager: Paris (uncredited) | |
Second Unit Director or Assistant Director | |||
| Douglas Green | .... | assistant director | |
| James A. Westman | .... | assistant director (as James Westman) | |
Art Department | |||
| Thomas J. Wright | .... | storyboard artist (uncredited) | |
Sound Department | |||
| Robert R. Bertrand | .... | sound | |
| Waldon O. Watson | .... | sound | |
Visual Effects by | |||
| Albert Whitlock | .... | special photographic effects | |
Camera and Electrical Department | |||
| William Dodds | .... | camera operator | |
| Bill Johnson | .... | camera operator (uncredited) | |
| Sherman Kunkel | .... | camera operator (uncredited) | |
| Pierre Zucca | .... | still photographer (uncredited) | |
Costume and Wardrobe Department | |||
| Peter V. Saldutti | .... | costume supervisor: mens (as Peter Saldutti) | |
Editorial Department | |||
| Jeff Gourson | .... | assistant film editor (uncredited) | |
Music Department | |||
| Maurice Jarre | .... | conductor | |
Other crew | |||
| Odette Ferry | .... | technical advisor: French | |
| J.P. Mathieu | .... | technical advisor: Cuban (as J. P. Mathieu) | |
| Hal Mohr | .... | photographic consultant | |
| Peggy Robertson | .... | assistant: Mr. Hitchcock | |
| Trudy von Trotha | .... | script supervisor (as Trudy Von Trotha) | |
| Orin Borsten | .... | publicist (uncredited) | |
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| The Good Shepherd | Munich | The Interpreter | Three Days of the Condor | Fair Game |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Thriller section | IMDb USA section |
"Topaz" is one of Hitchcock's least satisfying films, yet the same time it's one of his most interesting ones, as well. Usually people don't remember it, maybe because there are no famous Hitchcock stars. Either the director didn't get any, or he didn't want them, because the audiences should tightly concentrate on the complex plot.
The film clearly divides into three parts. The one in the middle, which takes place in Cuba, is the best of them. It involves the films most memorable scene, the beautifully photographed murder. Weakest part is the last one, where you might get confused with the messy intrigues.
There are too many characters in the movie, which leaves many of them just bystanders, for example the worried wife (Dany Robin), who doesn't do really anything. The films brightest spot is Karin Dor, who gives an excellent performance as the beautiful Juanita. Too bad that her screen time is quite short. And the ending climax shines with its absence: the film ends like bumping into a wall.