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 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 case of mistaken identity lands Slevin into the middle of a war being plotted by two of the city's most rival crime bosses: The Rabbi and The Boss. Slevin is under constant surveillance by relentless Detective Brikowski as well as the infamous assassin Goodkat and finds himself having to hatch his own ingenious plot to get them before they get him.
London is terrorised by a vicious sex killer known as the neck tie murderer. Following the brutal slaying of his ex-wife, down-on-his-luck Richard Blaney is suspected by the police of being the killer. He goes on the run, determined to prove his innocence. Written by
Col Needham <firstname.lastname@example.org>
in the first moments of the film in the crowd - he is the only one not applauding the speaker. He can also be seen in a following scene, after the body in the river has been found, standing next to a couple discussing Jack the Ripper. See more »
(at around 1 min) Richard and Babs arrive at the Coburg Hotel. The exterior shot shows two women with two suitcases standing on right-hand side of the main door outside the hotel, and Babs puts her handbag under her arm. When they enter the hotel, the interior shot shows two couples standing either side of the main entrance outside and suitcases on the pavement on the other side of the main door and Babs is hold her handbag in her right hand. See more »
Men like this leave no stone unturned in their search for their disgusting gratifications.
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The Universal Pictures logo does not appear on this film. See more »
Those who blame Hitchcock for the intensity of the rape/strangulation scene should realize that he wrote neither the screenplay (which was written by playwright Anthony Shaffer, best known for his marvelous comic/mystery "Sleuth") nor the novel upon which it was based ("Goodbye Piccadilly, Farewell Leicester Square" by Arthur La Bern)...and that the scene in the film runs exactly the same course, with precisely the same detail as the scene in the book. In fact, now that I think of it, the scene in the film is actually tamer. Hitchcock's film does not, after all, make any reference to the post-mortem insertion of a letter opener. If anything, Hitch showed restraint with his version of the scene. Not as much restraint as is usual for him...but restraint, nonetheless. And he achieved what he set out to do. The scene is absolutely chilling. And not only is it memorable...it's the most unforgettable scene of its kind.
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