“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.
