Theft And Flirting On The French Riviera

“I called the police from your room and told them who you are and everything you’ve been doing tonight.” ~ Frances 

“Everything? The boys must have really enjoyed that at headquarters.” ~ Robie

“I take it you were a sort of modern Robin Hood, you gave away most of the proceeds of your crimes?” ~ Hughson 

“Kept everything myself. Well, let’s face it, I was an out and out thief, like you.” ~ Robie

“Don’t you think it’s foolish to remain here without knowing what will happen to you? But if you were in South America with me, you will know exactly what will happen.” ~ Danielle

“Sorry I ever sent her to finishing school. I think they finished her up there.” ~ Jessie

“Hold this necklace in your hand and tell me you’re not John Robie, the Cat. John, tell me something. You’re going to rob that villa we cased this afternoon aren’t you? Oh, I suppose rob is archaic. You’d say, knock over?” ~ Frances

“You know, I have the same interest in jewellery that I have in politics, horseracing, modern poetry, or women who need weird excitement. None.” ~ Robie

To Catch A Thief is the 1955 romantic thriller by Alfred Hitchcock, pairing the director of suspense with actors he’d worked with on other occasions- Cary Grant and Grace Kelly. The film, which plays with the innocent man wrongfully accused storyline, is set in the French Riviera, concerning itself with a series of crimes being committed by a burglar, crimes that have the hallmark of a retired cat thief. Delightfully brisk and with a lighter touch than many of Hitchcock’s films, the movie is a pleasure to watch.

The story opens with crimes underway, the theft of high end jewels from visitors and residents in the area. The police suspect and try to arrest John Robie (Cary Grant), a former thief with the nickname the Cat, who spends his life quietly tending his vineyards at his villa in the hills. He gives them the slip, meets up with his former associates from his days in the French Resistance. Many of them resent him, because with these new crimes, all of them are under suspicion- the entire group was paroled after their wartime service, and yet still come under suspicion when crime waves happen. He does receive aid from the daughter of one of the gang, Danielle (Brigitte Auber), who has a thing for him.

Robie decides the best method to prove his innocence is to catch the new Cat in the act. He enlists an insurance man, H.H. Hughson (John Williams), who assumes Robie will only end up incriminating himself and provides him with a list of expensive jewels on the Riviera. Among the list are those belonging to two Americans, a mother and daughter, Jessie and Frances Stevens (Jessie Royce Landis and Grace Kelly). Robie steps into their lives, quickly charming Frances, and being charmed by her in return, all the while working to uncover the truth behind the new burglar.

Hitchcock took on the film, based on a novel of the same name by David Dodge, which was adapted as a screenplay by John Michael Hayes. With a good deal of location shooting on the Riviera, the film fully exploits the sophistication and beauty of its surroundings and the story plays on the suave charm of its leading man. There are signature Hitchcock notes to the film- the brisk pace, the required cameo by the director early on, the wrongfully accused plotline, innuendo, dashes of suspense, and the dry sense of humour, with some differences as well- the psychological aspects of films like Vertigo or Psycho are not in play here.

Hitchcock’s crew certainly showed their worth here. The film won an Oscar for Cinematography, and it’s certainly beautifully shot, and so the award is well earned. The attention to detail is well taken care of- this being a high society sort of environment, the clothing looks well tailored, and the attire for a late in the film masquerade ball that is an essential element of the film is lavish. Oscar nominations were also in play for art direction and costume design, and the nominations are well deserved.

The cast is impeccable. John Williams had previously worked with Hitchcock, most recently in Dial M For Murder. His character is a reluctant source of help for Robie- as an insurance agent, he’s naturally suspicious of the notorious thief at first, and wary of the offer being made. There’s a mannerly keep-calm-and-carry-on sort of manner to the character, which Williams plays to, and as the film goes along Hughson proves to be an indispensible ally to Robie. I like the dry sense of humour for the character- his reaction to Robie’s revelation about his housekeeper’s wartime exploits is wonderfully rendered by Williams.

Jessie Royce Landis would work with Grant again some years later, playing his eye rolling mother in North By Northwest. Here she’s a different kind of mother, playing the role to Grace Kelly’s Frances. Her take on Jessie Stevens is both down to earth and with a good sense of humour. The character is one who came into money as opposed to inherited it, so she doesn’t have the polish that years of finishing school have given her daughter, but she’s likable, wise in her own way and likely to wisecrack. Her daughter, on the other hand, is more given to roll her eyes in exasperation at Jessie’s remarks.

Brigitte Auber’s Danielle is remarked upon by Frances as a child during the film- ironic, as the actress was in fact over a year older than Grace Kelly. Her character has the look of a teen, though, and particularly the attitude- impetuous, sarcastic, and flirtatious. There’s more to her, and the actress has to keep things close to the vest as the movie goes along. One must wonder on the odd occasion why Robie doesn’t take her up on the whole going to South America thing.

Grace Kelly had worked with Hitchcock previously on Rear Window and Dial M For Murder. This was one of her final films- within a couple of years she married Prince Rainier of Monaco. Her character Frances is more mature than her mother, with the sophistication that comes from finishing school. She’s wary of the attention of men- are they after her or after her money? There’s a dash of mischief and spirit in the character early on, in how she banters and flirts with Robie, or spars with Danielle. She sees right through Robie’s cover story, teases him with an unusual offer, and yet turns on him when events take another turn. And yet she’s not so proud that she can’t admit to a mistake. Kelly brings great warmth into the character as time goes on, and she’s got great chemistry with Grant.

Cary Grant’s take as Robie is one of his best roles, with the actor as suave, charming, and debonair as you expect. He’s rather graceful and calm under pressure, more self assured than the character he would later play in North By Northwest, where he comes into his own gradually as events become chaotic around him. Robie is a resourceful man, quick thinking and able to improvise, and Grant gives him a nicely dry sense of humour- perhaps best summed up in one facial expression before the screen fades to black. I like the nuance he gives to the character- that even though he’s been pardoned for his crimes in the past, he lives out his life always under suspicion when a crime spree happens, and it’s a status that bothers him- he has to prove every day of his life that he doesn’t belong in jail. I like the way he relates to Frances- playful and flirting, trying to resist temptation on one occasion, and able to forgive at another crucial point.

This is one of my favourite films from the master of suspense. Hitchcock gives us a film with a delightful touch, a brisk pace, and wonderful leading actors. The film is more romantic thriller than psychological melodrama as some of Hitchcock’s other works, but it does have the tell tales of his style, and it’s a treat to watch the story unfold. There are many reasons this film’s a classic, and all of them work so incredibly well.

Mr. Kaplan, Two Henchmen Are Calling

Some links before getting started today. Parsnip had a series of pics at her blog the other day, and yesterday having had been a Friday, her usual Square Dog Friday post. Shelly had a post the other day from the dog's point of view on such matters like Ebola. Krisztina had a recipe and pics from Woodward Gardens.

“Has anyone ever told you that you overplay your various roles rather severely, Mr. Kaplan?” ~ Phillip Van Damm

“War is hell, Mr. Thornhill, even when it’s a cold one.” ~ The Professor

“How do I know you aren’t a murderer?” ~ Eve Kendall

“Now you listen to me. I’m an advertising man, not a red herring. I’ve got a job, a secretary, a mother, two ex-wives, and several bartenders that depend upon me, and I don’t intend to disappoint them by getting myself slightly killed.” ~ Roger Thornhill

The great director of suspense Alfred Hitchcock had a long career filled with classic films that drove up the tension, some of which are among the greatest films ever made. Psycho would make the audience never quite look at a shower the same way again. Rear Window had a voyeuristic streak in its story of a man stuck at home recovering from an injury and having nothing better to do than watch his neighbours. Vertigo deals with the theme of obsession. The Birds features nature wrecking havoc on man. For those of us who love the work of the master of suspense, there’s usually one film that stands out as a personal favourite. For me, it’s North By Northwest, his 1959 classic spy caper bringing in the man in the wrong place notion that was favoured by Hitchcock.

We first meet Roger Thornhill (Cary Grant), an ad executive in New York City coming to have drinks with friends. By chance he is mistaken by two hoodlums for an elusive George Kaplan, and the two spirit him off to a waiting car. Despite his protests that he’s not Mr. Kaplan, they remain silent, taking him to an estate on Long Island, where he meets a man by the name of Lester Townsend (James Mason). We will later learn that the man’s actually one Phillip Van Damm, and he interrogates Roger, who finds himself increasingly confused by the situation he’s in. Not getting the answers he wants, Van Damm leaves Roger to his associates, including Leonard (Martin Landau), who proceed to get him drunk, with the intention of setting up a fatal car crash.

Roger manages to survive and escape, but the police, the courts, and his mother (Jessie Royce Landis) refuse to believe his account of what happen. He soon finds himself on the run, framed for murder, hunted by the police and Van Damm’s men, beginning a cross country effort to elude them all. And along the way he meets the enigmatic Eve Kendall (Eva Marie Saint), who recognizes him as a wanted man and yet has no issue at all dining with him, flirting with him, and assisting him in hiding from the police. Her motives are her own, as are the motives of a group at the CIA, headed by The Professor (Leo G. Carroll), all of whom know that Roger is indeed innocent- because there is in fact no George Kaplan.

The story is by Ernest Lehman, who worked with Hitchcock on a film that never made it past pre-production and wanted to write a Hitchcock film to top them all. The question of who came up with what idea is a bit murky- the director and writer discussed story ideas and plotlines, but the end result is a fast paced caper film that serves as a harbinger for the James Bond films. It deals with Cold War intrigue, treachery, double dealing, hidden agendas, and the notion of what Hitchcock called the MacGuffin, an object sought by all characters in a film that’s only important because the characters want it. In this case, the MacGuffin is microfilm with state secrets. The story tone is lighter than much of the director’s usual work, with a romantic streak between the characters, a great sense of humour, and the pacing of a mad dash across the countryside with no way to know where danger lurks. While it takes the man in the wrong place concept and runs with it, the story also shows us a protagonist who starts to adapt to the situation he’s in, a man capable of thinking and improvising his way through trouble.

Some of the filming was done on sets, such as the Frank Lloyd Wright inspired home of Van Damm seen towards the end of the movie, or the climactic sequence on the face of Mount Rushmore. Other filmwork was done on location; portions of the film were done in the Rushmore visitor center, for instance, where if you look carefully you can see a boy in the background cover his ears just before a very loud noise. The iconic cropduster sequence, in which Roger is placed in peril in the middle of nowhere by a pilot, was actually filmed in California, though it feels quite Mid-Western in the location. It’s one of the great sequences of the movie, a masterpiece of sheer tension as you wonder how on earth does he get out of this?

 The score is by Bernard Herrmann, who collaborated frequently with Hitchcock. It’s my favourite of the composer’s work, with romantic and charming melodies for the leading man and the woman crossing his path, sinister undertones for the villains, and rousing music to underscore the action and the tension. It suits the spy thriller aspect of the film very well indeed, and the entire Mount Rushmore sequence features Herrmann at his best, driving up the suspense and terror of the moment exquisitely.

The casting of the whole film is spot on. Hitchcock of course does his customary cameo early on, turning up in the opening titles and missing his bus as it drives away- a hint of the sense of devious humour yet to come. His choice of Jessie Royce Landis for Roger’s mother is a good one; they had worked together some years before on To Catch A Thief, where she played the mother of Grace Kelly’s character. Her take on the role of Clara Thornhill is one of exasperated amusement at her son, and we’re left to wonder which of the pair is more of an adult. Some of the humour comes from her, such as asking two of the henchmen in a crowded elevator, “you gentlemen aren’t really trying to kill my son, are you?”

Leo G. Carroll also appeared regularly in Hitchcock films, appearing in six of them, including Rebecca, Suspicion, and Strangers On A Train. This was his last work for Hitchcock, but his best too. He plays The Professor in a number of ways. At first he’s pragmatic, seeming not to mind that an innocent man might be living on short time if it means the protection of an agent in the field, but that’s understandable coming from a spymaster. He seems too bookish in his looks to be a spy, but there’s a devious streak to the character that very much suits the profession, and ultimately he’s much more of an ally than he starts out as. He gives the character a calm, steady hand in his performance, and we see him as a man who’s dedicated his life to service to his country.

This was an early role for Martin Landau, but a good one. Leonard is seemingly polite, but there’s a lot of menace and malice lurking under that, as we quickly see. He’s suspicious of everyone, totally loyal to his boss- to the point of jealousy, even, and one can interpret that devotion in more than one way. Fundamentally though, the character’s a dangerous man, with a ruthless streak.

James Mason is wonderful as Van Damm. His character is a traitor, selling spies to the other side in the Cold War. As sinister as he is, there’s a civilized, charming side to him. He doesn’t particularly care to do the dirty work of being a villain, and leaves all that to his various henchmen. He moves through the film with a sophisticated smoothness, a prelude to many a James Bond villain yet to come, and gets what I consider to be the greatest final line of a villain in movie history. Like the rest of his dialogue, it perfectly fits the character, and has the added benefit of being brilliantly funny.

Eva Marie Saint has to play Eve in a number of ways. We doubt her motives, as we must, not sure of what she’s playing at. But there’s no doubt that she suits the character so well. There’s a boldness in her, a seductive energy that works well on Roger. Things change through the film, and she plays those changes in just the right way as they come. And she’s got great chemistry with Grant, which comes across in their every scene. It’s a very adult role- there’s little doubt what happens between the pair on an overnight train trip- and quite risqué for the time, but her Eve is an irresistible charmer and glamorous heroine with a heart.

Cary Grant worked with Hitchcock on several occasions, and here he is the charming leading man, placed out of his element. Roger is an elegant and refined man who doesn’t mind wisecracking. He’s somewhat self-deprecating, thrown by chance into a world of secret agents that he doesn’t understand, and yet he comes into his own. He proves to be resourceful in getting out of trouble time and time again, and manages to keep his calm, even noting at one point while in great peril that his ex-wives divorced him because they thought he lived too dull a life. It’s a marvellous role for Grant to have chosen for his last collaboration with Hitchcock, and he certainly makes the best of it. His Roger Thornhill is one of my favourite Grant roles.

The master of suspense really outdid himself with this film. Some might argue the point, but personally, I think North By Northwest is Alfred Hitchcock at his best. It brings humour into the midst of unbearable tension, taut suspense, and the world of secret agents and treachery, all while following  the path of an innocent man desperately out of his element. It’s an entertaining film, stylish, and fresh even now, and a marvellous caper.