Avis des utilisateurs

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

A bit of a departure for Alfred Hitchcock, somewhat lighter and with less of the trademark suspense. Thoroughly enjoyable, though. Cary Grant was playing Cary Grant by this time, and no one could do it better. And Grace Kelly, what eye-candy! The snappy dialog with the sexual innuendo was done perfectly. And huge kudos to Brigitte Auber, who was gorgeous and very good. An interesting aside was that Grant's character, while pretending to be someone else, claimed to have been an American circus acrobat, which Grant sort of was early in life (albeit English, not American.) Grant (with his accent) could really never be mistaken for an American, even though he usually played one. Also it was a little eerie to see Grace Kelly driving so fast on those French Riviera cliffside roads, in light of what happened to her later. (Of course, she obviously wasn't doing so, they were using back-projection) Anyway, this film is a must for fans of Hitchcock, Kelly or Grant. Grade: A

In between his suspense masterpieces,Alfred Hitchcock sometimes liked to work on less intense projects,and this is one of them.There isn't much opportunities for palm-sweating tension or balletically-composed thrills as you'd expect from old Hitch,but in TO CATCH A THIEF this seems quite deliberate.The intention from the very start is partaking in a light comedy-thriller,and on this level it is very enjoyable.And accomplished performers such as Cary Grant,Grace Kelly,Jessie Royce Landis and John Williams further help to give it further resonance and quality.The one disappointment in the film is it's slow pace.There are some parts in the film that drag and produce lethargy,but the beautiful locations,photography and cast save it,including a witty and sometimes surprisingly risqué script which caused some concern from censors at the time.Grant and Kelly rank as one of the best romantic couples ever on screen,and rub genuine sparks off each other.Even at 50 years old,Grant is as handsome,if not more handsome,than he ever was previously,and also looks amazingly lithe,agile and fit,as befits a retired cat burglar,and despite being almost double Grace Kelly's age,is wholly convincing as her suitor.Grace herself never looked more alluring and ravishing,and Jessie Royce Landis and John Williams provide fine support.Williams himself is barely a year older than Grant,yet you wouldn't suspect that at all when they're together on screen,and how ludicrous it is compared to Grant when towards the film's end Kelly puts a relieved head on his shoulder(even Williams himself seems embarrassed!).Such is Grant's eternal youthfulness that Miss Landis played his mother in the superior NORTH BY NORTHWEST(1959);the fact is she's a few months younger than Cary!

There's a well-known tragic coda to the film;the later titled Princess Grace of Monaco lost her life in a car accident on the very same stretches of road that Hitchcock filmed a chase sequence,but barring this sad fact TO CATCH A THIEF is still very decent Hitchcock,not great Hitchcock.But very decent Hitchcock is still far better than 95% of other directors,so there's no problem in watching and enjoying this film.

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!

"To Catch a Thief" may have been Alfred Hitchcock's only film that bordered on escapism. Whereas most of his movies were all about suspense and camera angle, this one is mostly about aesthetics, at least as far as I could tell.

Cary Grant plays John Robie, an ex-cat burglar now living in retirement in Nice, France. When a series of robberies starts to plague the city, the police try to question John, but he gets away. While hiding in the city, he meets exquisite American heiress Frances Stevens (Grace Kelly, pretty as always), who's more interested in him than he is in her. From there, we start to become intrigued about which of the various characters is doing what.

One of the undeniable aspects in this movie is how it makes use of Grace Kelly's incomparable beauty: no matter from which angle they film her, she and her clothes always light up the screen. But there's something else that I notice about the movie: the similarities to "Charade". The obvious point is that both films star Cary Grant and happen in France. But also, Grace Kelly and Audrey Hepburn were both born in 1929, and in their respective roles in these movies, they play women involved with men who may or may not be what they seem.

Maybe I'm the only person who thinks that. Anyway, "To Catch a Thief" is more about showing off Grace Kelly than about suspense or camera angles. But don't get me wrong: she was one hot babe. Too bad she got killed in a car wreck (in fact, "TCAT" has a scene where she's driving dangerously through the hills above Nice; a premonition?).

One scene that I really liked was when John is hiding in a boat and athletic Danielle Foussard (Brigitte Auber) is at the helm. When a plane flies overhead, John tells Danielle to get rid of them by acting pretty. She promptly pulls back her dress a little bit. He quickly reminds her: "Not that pretty! We're trying to get rid of them!"

Enjoyable and riveting comedy-thriller by master of suspense , the great Alfred Hitchcock .On the French Riviera a retired jewel thief nicknamed ¨The Cat¨ (Gary Grant) falling for a gorgeous American girl (Grace Kelly), a high society woman accompanied by her mother (Jessie Royce Landis) , she suspects he's up to his old jobs when a rash of jewel thefts happen. While newspapers publicize ¨The Cat prowls again¨. Then the reformed thief attempting to chase his impersonator .

This elegant film contains suspense , emotion , mystery , and a wonderful love story . And of course full of distinctive Hitchcockian touches with red-herrings , dead-end trails and some typical jokes. Based on the novel by David Dodge , being well adapted by John Michael Hayes who writes a snappy dialog . Marvelous performances from main cast as Gary Grant as smooth and likable thief who returns his old tricks and wonderful , icely effective Grace Kelly whose coldness is gradually melted . Grace Kelly met husband Prince Rainero of Monaco during a photo shop while she was attending the Cannes Film Festival . Both of whom form a sensational couple with sparkling chemical . Furthermore , good secondary cast as the young girl Brigitte Auber and the veterans Jessie Royce Landis and Charles Vanel and of course John Williams who appears nicely dressed in black and posing as servant of two glamorous ladies in a bizarre , fancy costume ball with policeman awkwardly masquerading . There's a magnificent car pursuit throughout the Grand Corniche located on a Riviera hilltop road and shot from a helicopter. Deservedly Oscar-winning cinematography by Robert Buks , Hitch's usual, as he photographed ¨Strangers in a train¨ , ¨The Birds¨ and ¨Marnie¨ . Luxurious Oscar-nominating costumes by Edith Head and splendidly created for Grace Kelly . Spectacular and colorful scenarios with excellent production design by Hal Pereira also nominated to Academy Award , and outdoors filmed in French Riviera , Monaco , Cannes ,and Grand Corniche . Lively and jolly musical score by Lyn Murray. The motion picture is colorfully and stunningly directed by the genius Hitch . Rating : Above average , this Hitchcock effort proved to be as successful as his former popular movies.

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!)

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

The best thing about this film is the chemistry between leads Grant and Kelly. Grant is as debonair as usual and Kelly was never more glamorous. The costumes she wears are very flattering to her and she is to the clothes. The dialogue between them sparkles throughout and is a pleasure to watch even if the course of their relationship is predictable. Grant's self-deprecating in-jokes are another nice touch. Further pleasantly adding to the fantasy ambience is the spectacular photography of the French riviera. John Williams is also great as the insurance investigator, the type of character he played in Hitchcock's Dial M for Murder (also with Kelly) and in the Doris Day-Rex Harrison film, Midnight Lace. This film is not one of the most psychologically involving in Hitchcock's pantheon but it is not designed to be. It is enjoyed best as what it was produced to be: glossy high production value escapist fare. 8/10.

Like most of Hitchcock this is a film that withstands repeated viewings. A light crime farce it is nevertheless full of great Hitchcock touches- a particular favorite of mine is the chase through the flower market with Cary Grant's comic encounter with the old flower seller. Grace Kelly was perhaps the sexiest of all movie stars in that she could combine the glamor of a Katherine Hepburn or Elizabeth Taylor with the earthy sexiness of Marilyn Monroe. Witness her first surprise kiss with Cary Grant and his reaction. This is priceless acting and one of the reasons Grant is considered one of the greatest actors in movie history. John Williams is also excellent as the very British insurance agent and Jesse Royce Landis (who played Grant's mother in North by Northwest ) is also on hand for a number of fine moments. Although slim in terms of drama this has to rank among the top ten of Hitch's films.

Wow...To Catch A Thief really is a beautiful thing to see. The French Riviera is the setting of this film and it has never looked this good. No wonder the cinematography won an Oscar. Add to that the marvelous Grace Kelly and you really have a great picture in every shot to look at. Unfortunately this isn't your typical Hitchcock thriller. It lacks the typical Hichtcock suspense and is more of a romantic comedy then a suspenseful story.

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.

Hitchcock has so many memorable films to his credit, "Psycho" and "The Birds" to name but two. "To catch a Thief " comes nowhere near the entertainment value of those. I find it rather dull and uninspiring. To me the actors seem to be mere cardboard cut-outs saying their lines with little feeling and lacking any real interaction between characters.

One redeeming feature is the beautiful setting of the French Riviera( a truly charming part of France) and in addition there is the magnificent wardrobe design. But we expect more than this from Hitchcock.

If this film is meant to be a mystery thriller, I regret to report it has little mystery and very few scenes that thrill. Even the chase across the rooftops is really not very exciting.

This film was made in the fifties when it was probably accepted as rather nice light entertainment for a Saturday night outing. Today we expect a film to be all absorbing, to thrill or make us laugh. This film does little for me except make me yawn. Maybe I was expecting more suspense and more excitement.

Even so, I still think the French Riviera is a truly wonderful setting for a film production.

Alfred Hitchcock is really having fun here, and so are Cary Grant and Grace Kelly. The Mediterranean coast is a stunning backdrop for their gorgeous outdoor scenes, and the great director leads us around the mystery at the heart of this story by alternating between tense chases, high-toned sexual innuendo, and moments of levity. Not to be missed.

The three films Hitchcock made consecutively with his new female star, Grace Kelly, couldn't be more different: a dark drama of infidelity and jealousy that takes place almost entirely in the living room of a small apartment; a love and crime story, comical and sinister at the same time, filmed inside an apartment but with sweeping views of a neighboring courtyard; and a romantic comedy with a playfully detective plot shot in spectacular exteriors (the French Riviera, Monaco).

The quality and ambition of the films are also quite different: compared to the interesting but modest exercise that is Dial M for Murder, Rear Window is one of the director's undoubted absolute masterpieces; and finally, To Catch a Thief is a highly commendable light comedy with great moments and a high budget but without too many complications.

Naturally, To Catch a Thief is more a Cary Grant film than a Grace Kelly film, and if we consider the four films the actor and director made together, there are significant differences too, which is only logical given that they span almost 20 years. The characters he plays not only logically age, but at the same time, they also show a kinder side. In Suspicion, he was a potential murderer, and aside from the ending, Cary Grant's presence was certainly unsettling. In Notorious, while he was on the side of the law, he still had a rather dark side. In To Catch a Thief, we are introduced to a white-collar thief, likable and redeemed by years of dedication to the honorable cause of resistance during the occupation.

The film never takes itself too seriously-we could almost say it doesn't take itself seriously enough. Kelly's character is very appealing but lacking in depth, and the love affair never manages to interest us much. This causes the story to lose some steam as it progresses, and some key scenes, such as the seduction during the fireworks, a cinematographically elaborate one by Hitchcock, end up sounding hollow. The suspense here is very occasional.

Among the supporting cast, Jessie Royce-Landis, the down-to-earth, rich Texan with a sense of humor, plays Kelly's mother (she'll be Grant's mother three years later!)

Even so, the show has a good pace, especially in the first half, beautiful images thanks to Robert Burks' spectacular cinematography, some good chase scenes, and Hitchcock knows how to make the most of everything. Its greatest asset is, of course, the glamor of the Grant-Kelly couple in magnificent outdoor locations and a fun story about wealthy people in exclusive settings that is followed with great interest.

Cary Grant, former resistance hero and gentlemanly cat burglar, is now retired from the trade. But there's someone out there who's using all his old cat burglar tricks and putting him in one big jackpot. Imitation may be the sincerest form of flattery, but Cary ain't flattered. With the French Surete and the English insurance company breathing down his neck, he'd better find out who the culprit is and fast.

He's got one ally, John Williams of the insurance company who has a sense it ain't really Cary. He's also got to contend with spoiled rich girl Grace Kelly who's taken a fancy to him. How much help she is is a dubious proposition.

Unlike a lot of Alfred Hitchcock films this one doesn't have all that much mystery to it. In fact early on you should be able to figure out who's stealing Cary's tricks. But the color photography which won an Oscar of the French Riviera is breathtaking and Cary Grant and Grace Kelly play the whole thing with such style that you really don't care.

My favorite in the film is Jessie Royce Landis who is Kelly's mother. She's rich, but remembers when she was poor. She takes to Cary and sticks with him when Grace has doubts and gives her quite a lecture on men. She knows her subject well.

Sadly life imitated art in this one. Grace Kelly met her future husband Prince Rainier on the set and on the road where she takes Cary Grant for a speeding car ride is the same one she had the automobile accident that took her life a generation later.

But don't dwell on the morbid here. Appreciate To Catch A Thief for the fine entertainment it is.

All this talk about the chemistry between ice princess Kelly and debonair Grant is a lot of nonsense. They're just two perfectly photogenic people who happen to be cast in the same less than satisfying romantic mystery--she has the camera in love with her (probably the director as well) and he's still an attractive--if older--leading man. That's it.

And neither of them can disguise the fact that they're stuck in a glamorous but lightweight Hitchcock film that has the slimmest of plots--an innocent man is thought to be the one committing the current crimes among the rich on the Riviera--a man with a past history as a thief. And it's played more for comedy than mystery. And that's it, in a nutshell.

Hitchcock seems more concerned that GRACE KELLY is gowned in all of the latest fashions that will look good in Technicolor and that CARY GRANT will look impressive enough as her co-star to make everyone forget the age difference. He rounded up some real pros for a supporting cast, including JOHN WILLIAMS as an urbane detective and JESSIE ROYCE LANDIS as Kelly's mother (she was Grant's mother in NORTH BY NORTHWEST).

But it's fluff--sumptuously mounted fluff and nothing more. Women will sigh over Grace Kelly's many costumes (even Lana Turner would be envious), and men will wish they had a chance to tour the Riviera with Grace as a guide.

The suspense is a mere piffle with only one really suspenseful moment on a rooftop with Grant exposing the real culprit--and the one-liners meant to titillate are almost puerile by comparison with the witticisms in other Hitchcock films of this nature. The accent is more on comedy than thrills and the result is one of the weakest Hitchcock films from this period.

Sorry. The heavy accent on glittering Hollywood glamor is not enough to sustain interest in a basically dull and obvious script, although it's easy to see why the color cinematography of lovely Riviera backgrounds brought the film an Oscar for Robert Burk. Hitchcock should have drawn a better performance from Grace Kelly instead of concentrating on her Oscar-nominated wardrobe.

To Catch a Thief (1955) is another Hitchcock classic that I recently rewatched on EPIX on demand. While more of a thriller than horror, the storyline focuses on an imitation thief of a world famous cat burglar in France. The imitated returns to France to track down the imitator and uncover the rationale for their acts and catch them before he's blamed for the crimes. He quickly identifies the next victim, because that's who he would target, and shadows her in a game of cat and mouse until the thief strikes putting his and the victims life at risk.

This picture is directed by legend Alfred Hitchcock (Psycho) and stars Cary Grant (Charade), Grace Kelly (Rear Window), Jessie Royce Landis (North by Northwest), John Williams (Sabrina) and Brigitte Auber (The Man in the Iron Mask).

This storyline is absolutely brilliant in terms of being a creative "who done it" picture while also being a fascinating character piece. The cinematography in this film was way ahead of its time starting with the very first scene. The lifestyles were fascinating and well delivered and the acting, writing and dialogue is out of this world. Kelly vs the French teen in this was hilarious and Grant is suave and unpredictably fluid. The plot unfolds at the perfect pace and the rooftop climax is legendary.

This is a magnificent film that is a Hitchcock masterpiece. I would score this a 10/10 and strongly recommend it.

To Catch A Thief, is, when all is said and done, a softer entry on the great Alfred Hitchcock's CV. By his own admission it was a film he viewed as "lightweight", but such is the great mans talent, his softer cinematic efforts still punch the buttons and are films that many filmmakers can readily learn from.

In this one Hitchcock is purely making an entertaining piece for those in the right frame of mind, a splendid mixture of comedy and romance which also culminates in no shortage of dramatic entertainment as well. Cary Grant is perfectly debonair as the cat burglar John Robie, who here has to catch a thief because he is the chief suspect for a spout of robberies on the French Riviera. Into the mix is that vision of beauty that is Grace Kelly, this is a woman who could melt the Antartic just by walking over it! Kelly as Frances Stevens spends the majority of the film trying to get into John Robie's pants and this puts a delightful sexual tension into the unfolding story. We get some sparkling scenes here, such as a firework display as the two protagonists flirt and then kiss, thus making the film easy on the eye, and some delicious slices of humour dot themselves throughout as Hitchcock indulges in his wink wink innuendo. The plinking score from Lyn Murray works a treat during a roof top cat sequence, while the ending stays just above average without really having an any over dramatic impact.

All in all it's a very tidy effort that is always worth spending time with on a lazy Sunday afternoon with a glass of vino in hand. 7/10

I've always enjoyed Hitchcock films, especially "Psycho" and "The Birds." This film is not his usual genre, and while it's supposed to be witty and sharp, I find it dull and uninspired.

I admit, I have never been a huge fan of Grace Kelly. No doubt, she was beautiful, but to me, she pretty much always played the same part in every film-a cool, serene, wealthy beauty who's either married to or in love with a man who could be her father. (I've never sat through "The Country Girl", but I'm sure she only won that award since for once, she played a slightly different character than her usual glamour girl.)

Here Kelly's playing the same role here yet again, only instead of Clark Gable, Bing Crosby, James Stewart, or Gary Cooper, the leading man is Cary Grant. Grant is fine, as usual and Jessie Royce Landis is a scene stealer, but the true star here is the scenery. I wouldn't watch this film again, but if you haven't seen it, I'd recommend it simply for the breathtaking beauty of the location it was filmed in. If you're looking for a true Hitchcock film, I'd recommend looking elsewhere. To me, this is far from his best.