Cast:
Leslie Banks (Bob Lawrence), Edna Best (Jill Lawrence), Peter Lorre (Abbott), Frank Vosper (Ramon Levine), Hugh Wakefield (Clive), Nova Pilbeam (Betty Lawrence), Pierre Fresnay (Louis Bernard), Cicely Oates (Nurse Agnes), D. A. Clarke-Smith (Binstead), and George Curzon (Gibson) Directed by Alfred Hitchcock (#219 - Rope, #223 - North by Northwest, #446 - Spellbound, #447 - Psycho, #450 - Vertigo, #455 - Rear Window, #553 - Strangers on a Train, #800 - Shadow of a Doubt, #910 - Notorious, #963 - The Lodger: A Story of the London Fog, #964 - The Ring (1927), #965 - Downhill, #970 - Mr. and Mrs. Smith, #977 - Frenzy, and #1343 - The 39 Steps, #1739 - The Birds, #1828 - Rebecca, and #2014 - The Lady Vanishes)
Review:
"Let's say the first version is the work of a talented amateur and the second was made by a professional."
It isn't often you get to see films where the same director would do it again decades later, but here we are. The Gaumont British production was one of the most noted features released by Alfred Hitchcock in his years in England, and he would do an updated version of this film (each involve an international crime plan with kidnapped children for extortion) that ran for two hours and was done in VistaVision for a distinct feature in its own right. The initial idea with Hitchcock was for him to do an adaptation of a Bulldog Drummond story (as originally created by H. C. McNeile as adventure novel series), which apparently would've been called "Bulldog Drummond's Baby". When that fell through, they just kept the idea of doing a conspiracy film with parents and cribbed the title from a 1922 novel of the same name (as written by G. K. Chesterton) that Hitchcock had select film rights to. The film was written by Charles Bennett and D. B. Wyndham-Lewis (Bennett asserted that he wrote the film with little, if anything done by Lewis). while Edwin Greenwood and A.R. Rawlinson provided the scenario for a film that runs at 75 minutes. This was released in the wake of such previous Hitchcock films as Number Seventeen (1932) and Waltzes from Vienna (1934), which are not exactly as remembered as the films that quickly followed after 1934 with The 39 Steps (1935) and Secret Agent (1936). It certainly ranked as the most curious film Hitchcock did in the sound era since probably his first one with Blackmail (1929), that much is for sure.
Admittedly, for such a little thriller, it actually is quite a vibrant feature in all the little things it does around building tension with a compact amount of time and composition. Banks and Best may not be the most recognizable names among features, but they were solid regulars for dozens of films for good reason, because it sure is something to play to what Hitchcock wants within the ordinary-turned-extraordinary here. This becomes pretty apparent after the opening sequences (such as introducing themselves to the future threat or trying to do a shooting contest) dispense away from their time as just wry parents and goes right into vulnerable panic. The startup to that sequence involves a would-be dance turning into whispers and then panic to effective execution that all involves a secret message (but it isn't the real important thing when it comes to coming up with one's own plan). Hitchcock does find time to pass that might inspire a wry chuckle without seeming wasteful, though, one of which involves a meeting with a dentist or (lest we forget) a church of sunworshippers. Lorre isn't forgotten in the main run of course, choosing his words carefully in menace - he had exactly one other English-language film under his belt with M (1931), which had an English version (remember that he left Germany in 1933), but this was the one where numerous English productions would follow in its wake. He has the physical presence that others wish they could match as a threat, and its clear to see how that could be used for films down the line. By the time that the film lumbers to the climax at the Royal Albert Hall, it has made its setup with key distinctions in one sound that makes the overall execution of said scene all the more better in tension and release. The gun fight that follows was actually inspired by the Sidney Street Siege, a real shootout in the East End of London in 1911 (which was actually captured on camera from a news outlet, some of which featured rising politician Winston Churchill), although obviously the gunfight here ends up different than the actual siege (which involved a collapsed building that killed a fireman), which isn't exploitative or played out with false notes. As a whole, in a lengthy career of several decades, The Man Who Knew Too Much shows Hitchcock in a favorable position when it comes to directing tension that he would cultivate for further success in further productions with most of the right moves already present here in a pretty good time.
Overall, I give it 8 out of 10 stars.
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