This is one of the films that sealed Alfred Hitchcock’s destiny early on in his career, along with The 39 Steps. The beginning opens a little confused and disorganized but once Hitchcock moves the action to a train, everything comes into place. The story is simple enough with a woman going missing on a train. The one woman who talked with the vanished lady makes it her mission to find out what happened to this missing woman. All of the tell-tale Hitchcock signs are here…mistaken identity, the “wronged” man/woman, and, of course, a little romance and humor. Some elements of the film almost seem “screwball” in how outlandish they are, but since it is a good story with good characters, we allow Hitchcock to take us along for the ride.

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Idyllic small-town America turns ugly in this Hitchcock masterpiece, the film which the director himself even considered his favorite. The film begins with Joseph Cotten’s character Uncle Charlie, one of the most devious and sinister characters in cinematic history, heading from the East Coast to stay with his sister in Santa Rosa, CA. Teresa Wright plays his niece and namesake, who at first is excited about her uncle’s appearance but soon discovers that evilness hides under the surface of his kind persona. In the beginning, there is doubt in the minds of the audience about the accusations against Charles. But, as the audience grows more and more suspicious, so does Wright’s character. Santa Rosa becomes a character itself by lending a “perfect” atmosphere around the town while something purely devilish is brooding within. This is one of the darkest Hitchcock films, mostly because of the way Cotten portrays Charles with cool, calculated depravity.

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When British director Alfred Hitchcock’s success in movies finally led him to Hollywood, he enjoyed a string of hits in the late 1930s and early-to-mid-1940s. After the romantic masterpiece Notorious, the director’s career hit a slump that lasted years, finally ending with the critical and public triumph of Strangers on a Train. The film is one of Hitchcock’s finest works…it encompasses everything a thriller should plus all of the usual “Hitchcockian” elements that make an ordinary thriller extraordinary. The title says it all…two men meet randomly on a train. One is a well-bred spoiled drifter (Robert Walker) and the other an estranged husband (Farley Granger) who desperately wants to leave his philandering wife behind and start his life over with a new love. Hitchcock’s use of camera and light are top-notch here. Scenes where Granger catches Walker spying on him are magnificent, with Walker increasingly portrayed as a psychopathic just by the camera techniques Hitchcock uses. There is a reason this film put Hitchcock back on the map as one of the best directors in the world…rent this one and see for yourself!

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Being a big Hitchcock fan always puts me in a tight place when people ask me about my favorite film. Of course, it would be a Hitchcock film, but which one? When the pressure heats up and I am cornered, I would confess that this film would have to fit the bill of not only my favorite film, but also, more importantly, my favorite Hitchcock film. The reasons? Well, it has every quality that Hitchcock is famous for. It has the comic element. It has the mistaken identity element. It has the “wronged” man element. It has what is commonly known in Hitchcock circles as the MacGuffin (some aspect of the plot that is totally irrelevant but succeeds in distracting the attention of the audience). And, it has romance. Basically, this is the film Hitchcock has been working up to his entire career. And, boy does it show. The performances showcase some of the finest work Hitchcock has ever filmed, especially “wronged” man Cary Grant, never looking more debonair, even when he’s running from crop-dusting planes in a suit and tie. This was Grant’s fourth film with Hitchcock and the two have never worked better together. My VERY close runner-up for best Hitchcock film would be another Grant movie, Notorious, from 1946. Even though Grant is near perfect in that earlier film, he simply radiates perfection in this movie. His comic timing, facial expressions, tone of voice, and mannerisms are all seamless. So, if you want to see a great movie, rent any Hitchcock film. If you want to see the best of Grant and Hitchcock, rent this one!
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This film is one of director Alfred Hitchcock’s more underrated films, especially since its only notoriety comes from introducing the song Que Sera Sera to the general public. Even though the famed director often copied styles and plot lines from some of his previous movies, The Man Who Knew Too Much stands alone as being the only true remake Hitchcock ever filmed—it is an updated version of Hitchcock’s own 1934 thriller of the same title. Taking the story of the 1934 film and enhancing it with location and character changes, the 1956 film is a terrific example of how a good film can become a great film. The movie stars Doris Day and James Stewart as an American couple visiting the French Morocco with their young son. After befriending a British couple, they soon find themselves embroiled in a series of terrifying events, including the kidnapping of their son. In addition to Hitchcock’s filmmaking, both Day and Stewart (appearing in his third of four collaborations with Hitchcock) make this film much more than just a standard thriller. The scene in the Royal Albert Hall in London stands out as one of the most intense, nail-biting scenes of pure suspense ever filmed. There is no dialogue and the scene lasts several minutes, but the anxiety of Day’s performance along with the climatic direction by Hitchcock keeps the viewer glued to the screen.

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Over the course of his career, Hitchcock followed his trademark “thriller” genre fairly closely. He made one totally non-suspenseful work early in his career (Mr. and Mrs. Smith from 1941 is a screwball, romantic comedy) and some of his works had more intense thrills than others did. On the whole, though, Hitchcock’s films made his audience sit on the edge of their seats and Notorious (1946) is no exception. Yet, it is somewhat unique since it is the closest Hitchcock ever came to making an outright dramatic love story. Starring Cary Grant and Ingrid Bergman (both of whom had worked with Hitchcock prior to this film), Notorious is a masterpiece on every front. It works perfectly as a thriller and passionately as a love story and it features both supreme directing and stellar acting performances. Bergman plays the daughter of a former Nazi who is convicted for his wartime crimes. Her father’s connections place Bergman in a perfect position to play spy for the U.S. government, which she does under the watchful eye of governmental agent Grant. A love affair between Bergman and Grant cools off after her assignment involves her becoming more than just an acquaintance with one of her father’s friends. Hitchcock’s sense of style is unmatched in this film. The camera movements add to both the intensity of the romance (following Grant and Bergman from room to room as they continue their embrace) and the drama of the suspense (following a key in Bergman’s hand).

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