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This film, "disappointing"? Who is that reviewer kidding? No female would ever say that. This film is escapism at its finest, and what, pray tell, is wrong with escapism in this ever-more-dreary and stressful world? I don't CARE that this isn't a serious acting effort on Cary Grant's behalf; I don't CARE that the plot is telescoped. What I DO care about is the fantasy of it all: the beauty of the two stars, their clothing, the surroundings, the sets, and the way this movie just takes a (female) viewer away to a place and time that she will never have experienced but would love to experience: the South of France in the '50s; healthy, witty people with unlimited funds; sunshine, flowers, villas; amusing intrigue involving stolen jewels; the sparkle of the Mediterranean. And that gaspingly gorgeous costume ball! Wow! Please. This is a frothy and fabulous dreamscape like no other. After a very stressful day, to lie down with a glass of chilled champagne and watch Cary Grant and Grace Kelly cavort on the French Riviera is the most sublime thing one could do. I know more than a few females who honestly could not have withstood their lives without the escape this film provides. Thank you Mr. Hitchcock! You have performed a great, great service!

This is probably Hitchcock's most beautiful movie. Grace Kelly is well (but of course decorously) displayed in delicate and perfectly fitted summer dresses and evening gowns (designed by Edith Head) that show off her exquisite arms and shoulders while accentuating her elegant neck and jaw line--and, as she turns for the camera, the graceful line of her back. Opposite her is one of Hollywood's most dashing leading men, the incomparable Cary Grant.

The cinematography by long-time Hitchcock collaborator Robert Burks was shot on location in the French Riviera. The style is daylight clear and sparkling, bright as the dream of a princess to be, always focused without a hint of darkness anywhere. Even the scenes shot at night on the rooftops seem to glow. The houses on the hills overlooking Princess Grace's future home and the narrow cobble stone roads with the low-lying stone walls suggest a refined and elegant lifestyle to come. Even though she drives too fast, one is not worried that she might crash...

Cary Grant is John Robie who fought with the French resistance during WWII and then became a jewel thief, dubbed "The Cat" for his ability to slink quietly in the night over roof tops and to steal into the bedrooms of the rich and take their jewels without waking them. As the movie opens he is retired from his life of crime and living comfortably in a villa in the hills above Nice. The complications begin immediately as the police arrive at his villa to question him about some recent cat-like jewel robberies. Robie is innocent of course (we are led to believe) and to prove his innocence he is motivated to find the real thief.

Grace Kelly plays Frances Stevens, the slightly naughty nouveau riche daughter of the widow of a Texas-style oil millionaire. She is used to having men fall all over themselves trying to court her, but Robie seems uninterested, and this excites her fancy and she goes after him. It is interesting to note that by this time Cary Grant (51 when the film was released) had become such a heart throb that directors liked to have the women (who were always noticeably younger; Kelly was 26) chase after him. Audrey Hepburn does as much in Charade (1963). One notes that here, as in Charade, the women kiss Cary Grant first, not the other way around. Here it is nicely done as the previously demure Frances takes a surprising initiative at the door of her hotel suite.

The story itself is rather bland and predictable, reminding me of a James Bond flick from, say, the sixties as though toned down for an audience of old maids. Notable in supporting roles are Brigitte Auber as the athletic Danielle Foussard, John Williams as the British insurance agent, and Jessie Royce Landis as Frances Stevens' mother. Hitch makes his de rigueur appearance as a passenger on the mini-bus that Robie takes to get away from the gendarmes early in the film.

See this for Grace Kelly whose cool and playful demeanor and statuesque beauty form the heart of this somewhat languid romantic thriller.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

This Hitchcock movie is not about suspense. It is about Grace Kelly, Cary Grant and the French Riviera. If you don't worry about the plot and just watch THEM, you will enjoy it immensely. Hitchcock went through what I call his "travelogue phase" which consisted of Dial M for Murder (London), Vertigo (San Francisco), North by Northwest (Mount Rushmore), and, here, The French Riviera. I consider this phase the time of his masterworks (before he became fixated on the macabre) and although this particular movie is the most insipid of the lot, it is his finest travelogue. For Americans of this period, the mention of Europe must have invoked black and white images of war. Not here!! One really wishes he could take a time machine back to this gloriously beautiful time and place. A movie that can enjoyably be watched time and again. However, I do agree with others that Grant was somewhat miscast as a thief -- even a high-class one.

There is much to like about Hitchcock's TO CATCH A THIEF: Cary Grant and Grace Kelly at the height of their appeal, a witty script that offers Jessie Royce Landis one of the funniest roles ever seen in any Hitchcock film, and excellent cinematography designed to show off the beauties of Monte Carlo--all packaged in a lightweight tale that is two parts romance, two parts travelogue, one part comedy, and just enough classic Hitchcock suspense to keep this lighter-than-air confection from flying apart.

The well known story concerns a string of jewel robberies along the Riviera which lead local officials to suspect that a famous and long retired cat burglar (Grant) is once more on the prowl--but rather than hope the authorities will find the real culprit Grant elects to protect himself by unmasking the thief for himself. In the process he encounters an icy beauty (Kelly) who takes considerable pleasure in tantalizing him with her charms, her jewels, and her knowledge of his criminal past, and her mother (Landis), who is perhaps the best of the "clever matrons" to appear in any Hitchcock film. As the police close in, the three of them devise a plot to expose the thief and clear Grant, with whom Kelly has now fallen in love.

Unlike most Hitchcock's most famous films, TO CATCH A THIEF offers nothing dark to trouble our thoughts, and it is perhaps best regarded as a romantic fantasia, the director's vacation from his more typical material. While it will never compete with the more famous VERTIGO and REAR WINDOW of the same period, it is extremely well done and quite a bit of fun to watch. Viewers seeking a pleasant film with a romantic touch will enjoy it a great deal.

Gary F. Taylor, aka GFT, Amazon Reviewer

When a number of jewel thefts take place on the French Riviera, suspicion falls on John Robie, an American expatriate. Robie was at one time a notorious jewel thief, but escaped from prison during the Second World War and joined the French Resistance. As a result of his bravery, he was paroled, and, although he now claims to be living an honest existence, the recent burglaries have all the hallmarks of his style. Robie has to clear his name of suspicion and expose the real "Cat", as the press have nicknamed the burglar. (The theme of a man unjustly accused or suspected of a crime was a common one with Hitchcock). Along the way, he finds time to flirt with Danielle, the attractive daughter of a local waiter, and to carry on a more serious romance with Frances Stephens, a glamorous American oil heiress.

Hitchcock is not, perhaps, a director whom one would normally associate with visual beauty, but as another reviewer has pointed out, this is perhaps his most visually beautiful film, with plenty of tourist-brochure shots of the Riviera. (The film won an Oscar for "Best Cinematography" and was nominated for two others, "Best Art Direction" and "Best Costume Design"). For the two main roles, he used two of his favourite actors, Cary Grant and Grace Kelly. In both cases, it was their third Hitchcock film; Grant would later go on to make a fourth, "North by Northwest". Kelly was one of the most beautiful Hollywood stars of all time, and Hitchcock catches her at her loveliest in this film, her beauty shown to its best advantage by some sumptuous costumes. Her verbal duels with Grant are one of the major features of the film; they sometimes turn into three-way contests when Danielle, played by Brigitte Auber, joins in. (Auber, incidentally, seems miscast. The exchanges between the two women suggest that Danielle is considerably younger than Frances, probably only a teenager. Auber, in fact, was a year older than Kelly).

This is possibly Hitchcock's most light-hearted film, apart from his few ventures into pure comedy such as "Mr and Mrs Smith". If one had to categorise it, it would probably be as a comedy-romance-thriller. Although Hitchcock made a few other films along similar lines, notably "North by Northwest", "To Catch a Thief" contains a greater element of comedy and a lesser element of thrills. There are no great set-piece suspense scenes comparable to the crop-duster and Mount Rushmore sequences in the later movie; indeed, there is very little suspense at all, except in the scene at the end where Robie confronts the "Cat" on the rooftops. The film to which it perhaps bears the greatest resemblance is "Charade", which also starred Cary Grant and an iconic beauty of the screen (in that case Audrey Hepburn) in a French setting. It was, of course, not directed by Hitchcock, but Stanley Donen had clearly absorbed elements of his style. Like "Charade", "To Catch a Thief" is highly enjoyable as a light, glossy romantic comedy, but lacks the tension and psychological depth of Hitchcock's best work. 7/10