A French intelligence agent becomes embroiled in the Cold War politics first with uncovering the events leading up to the 1962 Cuban Missile Crisis, and then back to France to break up an international Russian spy ring.
The trickster Madam Blanche Tyler lures the elder millionaire Julia Rainbird that believes she is a spiritualist. After a séance, she discovers that Julia is tormented by her past, when she forced her sister and single mother Harriet to deliver her baby for adoption to avoid a family scandal. Julia promises the small fortune of ten thousand-dollar to Blanche if she finds her nephew and heir of her fortune using her phony powers. Blanche asks her boyfriend George Lumley, who is an unemployed actor working as cab driver, to investigate the whereabouts of Julia's nephew. Meanwhile, the greedy jeweler and collector Arthur Adamson kidnaps wealthy people with his girlfriend Fran to increase his collection of diamonds with the ransom. When George concludes that Arthur Adamson might be the heir of Julia Rainbird, the reckless Blanche gets in trouble with the kidnappers. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
As a publicity stunt to promote this movie, Alfred Hitchcock held a press conference junket in a mocked-up fake cemetery. Journalists had their names embossed on mock gravestones and the whole event was a reference to this movie's Family Plot (1976) cemeterial title. See more »
After Fran gets out of the helicopter she goes in the woods to meet Arthur. He starts the car and the sound is of a Chrysler starter but they are driving a Lincoln. See more »
Smells fishy to me.
Well even fish smells good when you're starving to death.
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The Universal logo does not appear anywhere on this film. See more »
Tepid final bow from director Alfred Hitchcock, an overlong comedic mystery without much of the Master's notorious wit and charm. Phony psychic Barbara Harris and partner Bruce Dern get mixed-up with jewel thieves while attempting to solve a missing persons case. There's far too much of icy villains William Devane and Karen Black and not enough of spunky Harris, which flattens out the comedy, while the jewel heist-angle is never very involving or exciting. The script isn't desultory--it shows evidence that details and plot-devices were all carefully considered--but the end result is smoothly banal, a manufactured product. Harris displays her frazzled chutzpah and is very appealing (she brings the picture whatever bounce it has), though Hitchcock doesn't seem to know how to use her properly; as a result, many of her scenes fail to flourish. ** from ****
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