Um casal tem o seu filho sequestrado após um agente secreto lhes contar, ao morrer, um plano contra um importante diplomata. Em Londres, ao mesmo tempo que tentam recuperar o seu filho, tent... Ler tudoUm casal tem o seu filho sequestrado após um agente secreto lhes contar, ao morrer, um plano contra um importante diplomata. Em Londres, ao mesmo tempo que tentam recuperar o seu filho, tentam prevenir as autoridades e impedir o plano.Um casal tem o seu filho sequestrado após um agente secreto lhes contar, ao morrer, um plano contra um importante diplomata. Em Londres, ao mesmo tempo que tentam recuperar o seu filho, tentam prevenir as autoridades e impedir o plano.
- Ganhou 1 Oscar
- 3 vitórias e 4 indicações no total
Enredo
Você sabia?
- CuriosidadesThroughout the filming, Doris Day became increasingly concerned that Sir Alfred Hitchcock paid more attention to camera set-ups, lighting, and technical matters than he did to her performance. Convinced that he was displeased with her work, she finally confronted him. His reply was, "My dear Miss Day, if you weren't giving me what I wanted, then I would have to direct you!"
- Erros de gravaçãoWhen Hank is being taken by his kidnappers from the chapel to the embassy, the group gets in a left-hand drive large 1953 Humber Mark IV Super Snipe on a Hollywood sound stage. The pretend driver enters on the right, but the supposed front seat passenger can be seen releasing the handbrake, and holding the steering wheel. The car's exhaust sound also does not match the Humber. In the second scene later, the same car enters the embassy rear gate, also on a Hollywood sound stage, and the car can be seen as having red seats. In the next cut, the car pulls up at the rear of the embassy, and Hank and the kidnappers exit. The car has now become a smaller and earlier 1951 Humber Mark IV Hawk, with tan seats, filmed on location in London, although both cars show the same registration number.
- Citações
[last lines]
Dr. Ben McKenna: Sorry we were gone so long, but we had to pick up Hank!
- Cenas durante ou pós-créditosOpening credits prologue: A single crash of Cymbals and how it rocked the lives of an American family.
- Versões alternativasThe original film opened with the Paramount logo followed by their patented wide-screen process, Vista Vision. In the 1980s, Universal reissued the film with their logo, and dropped the reference to Vista Vision. The Blu-Ray edition retains the Paramount/Vista Vision logos at the start, but carries the '80s Universal logo at the end.
- ConexõesEdited into Histoire(s) du cinéma: Le contrôle de l'univers (1999)
- Trilhas sonorasStorm Cloud Cantata
(1934)
by Arthur Benjamin and D.B. Wyndham-Lewis
Performed by London Symphony Orchestra
Conducted by Bernard Herrmann
Orchestrated by Bernard Herrmann (uncredited)
Covent Garden Chorus and Barbara Howitt, soloist
The plot follows a middle-aged doctor and his wife that go to Morocco for a holiday with their young son. While there, they meet a French man on the bus and another middle-aged couple in a restaurant. However, things go awry when the French man dies from a knife in the back, shortly after whispering something to the doctor. The holiday then turns into a full blown nightmare when the couple's son is kidnapped, which causes them to cut it short and go to London in order to try and find him. The film has a very potent degree of paranoia about it, and it manages to hold this all the way through. In fact, I would even go as far as to say that this is the most paranoid film that Hitchcock ever made. Like most of Hitchcock's films, this one is very thrilling and keeps you on the edge of your seat for almost the entire duration, with only the aforementioned opera sequence standing out as a moment in which the tension is diffused. There is also more than a little humour in the movie, which gives lighthearted relief to the morbid goings on, and actually works quite well.
The original version of this story was lent excellent support by the fantastic Peter Lorre. This film doesn't benefit from his presence, unfortunately, but that is made up for by performances from the amazing James Stewart, and Doris Day. James Stewart is a man that is always going to be a contender for the 'greatest actor of all time' crown. His collaborations with Hitchcock all feature mesmerising performances from him, and this one is no different. (Although his best performance remains the one in Mr Smith Goes to Washington). Stewart conveys all the courage, conviction and heartbreak of a man that has lost his child and would do anything to get him back brilliantly. In fact, that's one of the best things about this film; you are really able to feel for the couple's loss throughout and that serves in making it all the more thrilling. Doris Day, on the other hand, is a rather strange casting choice for this movie. She's definitely a good actress, but she's more associated with musicals and seeing her in a thriller is rather odd (even if she does get to flex her vocal chords a little).
As I've mentioned; this is not Hitchcock's best film, but there's much to enjoy about it and although I'd recommend many Hitchcock films before recommending this one, I'll definitely give it two thumbs up as well.
- The_Void
- 9 de dez. de 2004
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Detalhes
- Data de lançamento
- País de origem
- Central de atendimento oficial
- Idiomas
- Também conhecido como
- The Man Who Knew Too Much
- Locações de filme
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 2.500.000 (estimativa)
- Faturamento bruto mundial
- US$ 8.645
- Tempo de duração2 horas
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1