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
304 Reviews
Hitchcock's Charming Romantic Bubble
gftbiloxi21 May 2005
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
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
Not 'great' Hitchcock,' but a 'Hitchcock' after all!
Nazi_Fighter_David21 September 1999
Warning: Spoilers
We are taken by Alfred Hitchcock to the French Riviera where a series of robberies are occurring, and women screaming that their precious jewels are stolen... A black cat - in each robbery - is roaming stealthily in fear and shame along the roof of the elegant Carlton..
From there, Hitchcock introduces us to John Robie (Cary Grant), a retired jewel burglar known as the 'Cat' who is living in peaceful isolation in Cannes...
Robie is seen upset, bothered,, and worried because the 'Cat' prowls again... But, who is the 'Cat'? Surely someone is imitating his old style, using his ability and skill, almost his cleverness and talent...
Naturally, the police in Cannes is blaming him... They had his hallmark stamped and classified... They would like to catch him in the act and finish with him in jail...
Robie is worried how to catch the real thief being himself subject to harass! The characteristic plot of Hitchcock: To chase and to be chased at the same time...
John Williams (H.H. Hughson) whose Insurance Company has been victim of great robberies, gives Robie what he wants: A list of their wealthy clients whom might be future candidates on the list of the skillful thief...
Here we discover a future victim, the rich Mrs. Stevens (Jessica Royce Landis) and her cool, beautiful and sensual daughter Frances (Grace Kelly).
Four scenes, depicted by the master of suspense, catch our attention:
With meticulous coiffure and fancy clothes, Grace Kelly plays her role with elegance and fashion... She is gracefully refined and polite showing good taste and style... In the French Riviera she meets her future husband Prince Rainier of Monaco... After finishing the filming of "The Swan," and "High Society," she becomes Princess Grace...
The film captures the aerial shooting of the automobile chases on the Riviera Corniche, the Cote D'Azur, the flower market, the grandeur of the rugged coastal scenery, the sea with much sunshine sparkling flashes of wit and gaiety... It is a pleasant entertainment, a 'Hitchcock Champagne' indeed!
Grace Kellycontributing with our ideal romantic hero in catching his thief, was in fact scheming to catch him...
From there, Hitchcock introduces us to John Robie (Cary Grant), a retired jewel burglar known as the 'Cat' who is living in peaceful isolation in Cannes...
Robie is seen upset, bothered,, and worried because the 'Cat' prowls again... But, who is the 'Cat'? Surely someone is imitating his old style, using his ability and skill, almost his cleverness and talent...
Naturally, the police in Cannes is blaming him... They had his hallmark stamped and classified... They would like to catch him in the act and finish with him in jail...
Robie is worried how to catch the real thief being himself subject to harass! The characteristic plot of Hitchcock: To chase and to be chased at the same time...
John Williams (H.H. Hughson) whose Insurance Company has been victim of great robberies, gives Robie what he wants: A list of their wealthy clients whom might be future candidates on the list of the skillful thief...
Here we discover a future victim, the rich Mrs. Stevens (Jessica Royce Landis) and her cool, beautiful and sensual daughter Frances (Grace Kelly).
Four scenes, depicted by the master of suspense, catch our attention:
- The classic fireworks shot when Frances and Robies expressed their passion joining their lips in a torrid kiss, igniting the fuse of a chain of explosions in sensation colors and in VistaVision...
- The annoyance of Hitchcock towards eggs: Mrs. Stevens, in her hotel's room, extinguishing her cigarette in the yolk of the fried egg...
- The Gala night: An extravagant festival of precious stones (diamond, emerald, ruby and gold) displayed in all its beauty and rarity on the neck of women dressed in multicolored and multifarious costumes... Also a close-up for clear identification of the police and gendarme who are ready to capture, to hit, to surprise the famous thief...
- The climactic classic roof-top chase sequence between Roby and the thief seen before in "Saboteur," and much later in "Vertigo," and "North By Northwest."
With meticulous coiffure and fancy clothes, Grace Kelly plays her role with elegance and fashion... She is gracefully refined and polite showing good taste and style... In the French Riviera she meets her future husband Prince Rainier of Monaco... After finishing the filming of "The Swan," and "High Society," she becomes Princess Grace...
The film captures the aerial shooting of the automobile chases on the Riviera Corniche, the Cote D'Azur, the flower market, the grandeur of the rugged coastal scenery, the sea with much sunshine sparkling flashes of wit and gaiety... It is a pleasant entertainment, a 'Hitchcock Champagne' indeed!
Grace Kellycontributing with our ideal romantic hero in catching his thief, was in fact scheming to catch him...
This is a magnificent film that is a Hitchcock masterpiece
kevin_robbins18 March 2022
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.
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.
Lightweight but efficient Hitchcock
BJJManchester11 March 2006
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.
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.
Cary Ain't Flattered
bkoganbing11 February 2006
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.
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.
Cat burglar
jotix10016 July 2005
Warning: Spoilers
With the magnificent setting of the French Riviera, "To Catch a Thief" is beautiful to look at. Alfred Hitchcock, the absolute master of suspense, appears to be having a lot of fun with this playful account of the rich and famous in their playground. The film is greatly enhanced by the magnificent photography of Robert Burke whose camera does wonders to show us that beautiful part of France.
The film begins with a teasing sequence where one sees a black cat running wildly on the roofs of villas, and later on, hysterical ladies are seen screaming when they realize they have been burglarized. The police links John Robie to the robberies since it appears it's his own modus operandi. In order to fool the authorities that are following him, John boards a bus full of ordinary people bringing things to the market and we catch a glimpse of Hitchcock himself, sitting in the back of the bus, next to John. This is the amazing opening for this film, which shows a lighter Hitchcock, out for a good time.
We then meet the rich Stevens, mother and daughter, who are vacationing at the posh Carlton Hotel in Cannes. The insurance agent, Hughson, introduces Robie to them. Hughson wants the Stevens women to be careful with their jewelry; at least, have them keep their gems in the hotel's safe, which they will not hear of. This seems to be an excuse for bringing together John and Frances, a beautiful and elegant woman who makes a point to show how much she hates having even a conversation with Robie, who will display all his charm and ultimately win her over.
The best asset in the film is the elegant and ravishing Grace Kelly, at the height of her beauty. Ms. Kelly was one of the most beautiful women ever to grace the screen. In a way, it seems almost as though this film was prophetic in what would happen in her life. First, becoming the fairy tale princess of Monaco, and later on, to die in the same highway one sees her racing her car. Ms. Kelly, dressed by the incomparable Edith Head shows an innate elegance and a great flair to carry clothes in such a wonderful manner.
Cary Grant, as John Robie, was at his best portraying the debonair former jewelry thief, a man with a past that had not committed a robbery for many years now, but whose fame preceded him everywhere. Mr. Grant and Ms. Kelly make a great romantic couple whenever we see them. Mr. Hitchcock got a lot out of these two actors and in the process, gives his fan something to care for.
John Williams is excellent as the insurance agent trying to protect his clients. Mr. Williams was a superb actor who almost seems not to be acting at all. The same can be said for the chic Jessie Royce Landis, who always showed she was a smart and elegant actress.
While this is a film so different from most of his other films, Mr. Hitchcock shows a great affinity for comedy in it. This proved to be a pause in his distinguished career to amuse his public. How well he succeeded!
The film begins with a teasing sequence where one sees a black cat running wildly on the roofs of villas, and later on, hysterical ladies are seen screaming when they realize they have been burglarized. The police links John Robie to the robberies since it appears it's his own modus operandi. In order to fool the authorities that are following him, John boards a bus full of ordinary people bringing things to the market and we catch a glimpse of Hitchcock himself, sitting in the back of the bus, next to John. This is the amazing opening for this film, which shows a lighter Hitchcock, out for a good time.
We then meet the rich Stevens, mother and daughter, who are vacationing at the posh Carlton Hotel in Cannes. The insurance agent, Hughson, introduces Robie to them. Hughson wants the Stevens women to be careful with their jewelry; at least, have them keep their gems in the hotel's safe, which they will not hear of. This seems to be an excuse for bringing together John and Frances, a beautiful and elegant woman who makes a point to show how much she hates having even a conversation with Robie, who will display all his charm and ultimately win her over.
The best asset in the film is the elegant and ravishing Grace Kelly, at the height of her beauty. Ms. Kelly was one of the most beautiful women ever to grace the screen. In a way, it seems almost as though this film was prophetic in what would happen in her life. First, becoming the fairy tale princess of Monaco, and later on, to die in the same highway one sees her racing her car. Ms. Kelly, dressed by the incomparable Edith Head shows an innate elegance and a great flair to carry clothes in such a wonderful manner.
Cary Grant, as John Robie, was at his best portraying the debonair former jewelry thief, a man with a past that had not committed a robbery for many years now, but whose fame preceded him everywhere. Mr. Grant and Ms. Kelly make a great romantic couple whenever we see them. Mr. Hitchcock got a lot out of these two actors and in the process, gives his fan something to care for.
John Williams is excellent as the insurance agent trying to protect his clients. Mr. Williams was a superb actor who almost seems not to be acting at all. The same can be said for the chic Jessie Royce Landis, who always showed she was a smart and elegant actress.
While this is a film so different from most of his other films, Mr. Hitchcock shows a great affinity for comedy in it. This proved to be a pause in his distinguished career to amuse his public. How well he succeeded!
A precursor to "Charade"?
lee_eisenberg7 July 2005
"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!"
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!"
The Lighter Hitchcock
JamesHitchcock11 January 2007
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
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
Brilliant thriller-comedy with an exceptional main couple : Grant and Kelly
ma-cortes1 July 2011
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 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.
Languid but beautiful romantic thriller
DennisLittrell1 September 2003
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!)
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!)
Great chemistry between the leads
perfectbond27 May 2004
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.
can be seen again and again
Tashtago15 March 2005
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.
The cat...
Thanos_Alfie13 November 2020
"To Catch a Thief" is a Mystery - Romance movie in which we watch a former jewel thief being accused of some new crimes and he has to prove that he is not responsible for them. He has to find the criminal and prove his innocence to the police while he is getting into some new troubles and adventures.
I liked this movie because it had a nice, interesting and simple plot with some plot twists and much of suspense that made it even more interesting. The direction which was made by Alfred Hitchcock was for one more time simply brilliant and he succeeded on creating a bond between his main characters and the audience, something that made us feel that we are part of this movie too. Regarding the interpretations of the cast I believe that both Cary Grant who played as John Robie and Grace Kelly who played as Frances Stevens were very good and they did a great job. Other interpretations that have to be mentioned were Brigitte Auber's who played as Danielle Foussard and John Williams' who played as H.H. Hughson because of their very good acting. Finally, I believe that "To Catch a Thief" is a nice movie to watch and I strongly recommend it to everyone because I am sure that you will enjoy it and you will have a great time watching it.
I liked this movie because it had a nice, interesting and simple plot with some plot twists and much of suspense that made it even more interesting. The direction which was made by Alfred Hitchcock was for one more time simply brilliant and he succeeded on creating a bond between his main characters and the audience, something that made us feel that we are part of this movie too. Regarding the interpretations of the cast I believe that both Cary Grant who played as John Robie and Grace Kelly who played as Frances Stevens were very good and they did a great job. Other interpretations that have to be mentioned were Brigitte Auber's who played as Danielle Foussard and John Williams' who played as H.H. Hughson because of their very good acting. Finally, I believe that "To Catch a Thief" is a nice movie to watch and I strongly recommend it to everyone because I am sure that you will enjoy it and you will have a great time watching it.
My Only Comment Would Be Highly Censorable
ShootingShark31 March 2011
Warning: Spoilers
John Robie is a retired cat burglar living on the French Riviera. When there are a string of diamond robberies in the area with his modus operandi, he's the number one suspect and must go into hiding to try and force the real culprit out into the open.
A confession - I really dislike this movie. It has some interesting scenes, the Cote D'Azur locales are very glamorous and picturesque, and there are some glimpses of Hitchcock's brilliance, but for the most part I just find it dull. For the master of suspense, it's almost completely lacking in suspense. The plot is weak - the kick-starter is when John runs from the police, but why bother - he's innocent and they have no evidence. If it's really a love story instead it's not a very good one - he's selfish and cynical and Francie is spoiled and immature. And the identity of Le Chat is pretty obvious; it has to be one of John's old gang and only two of them are developed as characters, one of whom is a (badly dubbed) old man who could hardly climb anything. Compare this with one of Hitch's other double-hunt movies, say The 39 Steps, where the innocent man premise is handled with much more plausibility, the romance is charming and quirky, and the twist at the end is craftily disguised and extremely satisfying. Most surprisingly for Hitchcock, humour and thrills are minimal - the scene where Foussard dies is a flub; a bunch of static shots and then a confusing, badly lit struggle of someone we've hardly met falling off a cliff we didn't know was there. And while Landis and Williams raise the occasional smile there are almost no jokes. I suppose the suave romantic banter is supposed to replace them but it's not very funny if, like me, you don't care for the characters. The only chuckle involves an errant chicken, but since it's in a scene where Francie drives her sports car recklessly round the twisting Monaco hills it's quite upsetting to watch (Kelly crashed her car and died in almost the exact same spot in 1982). Are we supposed to admire John, a self-confessed unapologetic burglar who conspicuously enjoys the high life he's gotten from his crimes ? Don't get me wrong, I like flawed heroes, but I find nothing heroic about a snooty criminal who only cares about himself and his own liberty. I also always get a bit creeped out by love stories where the woman is half the age of the man. The movie also has two big liabilities for me - the photography and the music. Cameraman Robert Burks won an Oscar for this film, which astonishes me, since of the twelve movies he made with Hitchcock, I'd say this one has the blandest photography - it's flat and static. There is an enormous difference between lavish, glamorous colour photography and good movie photography. Just about anyone can do the former, provided you have the resources, and that's all this movie is - a series of exclusive resorts, grand buildings and posh people in expensive suits and frocks (most of which have dated badly). In a Moving Picture the emphasis should always be on the adjective - Burks was an outstanding talent, but please see his stunning photography in Rear Window, Vertigo or The Birds, where the camera actually tells the story and adds immensely to the atmosphere, as opposed to just sitting back and recording a pile of talky scenes. There are occasional flashes - like the moment where Kelly's head is all in shadow in the big seduction scene - which feel Hitchcockian and original, but these are few and far between. Similarly, the score by Lyn Murray (a man) is staid and forgettable - it could be slapped on any movie of the period and fit reasonably well. For his next film, the brilliant and hilarious The Trouble With Harry, Hitch employed Bernard Herrmann as composer, and right from the very first second the music is sublime, original, funny, scary and complements the images perfectly, whilst simultaneously having a character all of its own. Okay, so I don't like To Catch A Thief, and perhaps some of my criticisms are unfair. I'm sure most people would say don't be such a killjoy, it's so chic and elegant, such a treasure of fifties haute couture, a timepiece of Monte Carlo history, a classic of romantic badinage from an age when Movie Stars really were royalty. It may be all of those things, but I don't watch movies to marvel at expensive things I can't have - I watch them to see exciting stories and meet interesting characters I can identify and empathise with. Hitchcock's movies usually do that for me and then some, but this one is cold and lifeless, like the sparkly diamonds the characters all revolve around. A bore.
A confession - I really dislike this movie. It has some interesting scenes, the Cote D'Azur locales are very glamorous and picturesque, and there are some glimpses of Hitchcock's brilliance, but for the most part I just find it dull. For the master of suspense, it's almost completely lacking in suspense. The plot is weak - the kick-starter is when John runs from the police, but why bother - he's innocent and they have no evidence. If it's really a love story instead it's not a very good one - he's selfish and cynical and Francie is spoiled and immature. And the identity of Le Chat is pretty obvious; it has to be one of John's old gang and only two of them are developed as characters, one of whom is a (badly dubbed) old man who could hardly climb anything. Compare this with one of Hitch's other double-hunt movies, say The 39 Steps, where the innocent man premise is handled with much more plausibility, the romance is charming and quirky, and the twist at the end is craftily disguised and extremely satisfying. Most surprisingly for Hitchcock, humour and thrills are minimal - the scene where Foussard dies is a flub; a bunch of static shots and then a confusing, badly lit struggle of someone we've hardly met falling off a cliff we didn't know was there. And while Landis and Williams raise the occasional smile there are almost no jokes. I suppose the suave romantic banter is supposed to replace them but it's not very funny if, like me, you don't care for the characters. The only chuckle involves an errant chicken, but since it's in a scene where Francie drives her sports car recklessly round the twisting Monaco hills it's quite upsetting to watch (Kelly crashed her car and died in almost the exact same spot in 1982). Are we supposed to admire John, a self-confessed unapologetic burglar who conspicuously enjoys the high life he's gotten from his crimes ? Don't get me wrong, I like flawed heroes, but I find nothing heroic about a snooty criminal who only cares about himself and his own liberty. I also always get a bit creeped out by love stories where the woman is half the age of the man. The movie also has two big liabilities for me - the photography and the music. Cameraman Robert Burks won an Oscar for this film, which astonishes me, since of the twelve movies he made with Hitchcock, I'd say this one has the blandest photography - it's flat and static. There is an enormous difference between lavish, glamorous colour photography and good movie photography. Just about anyone can do the former, provided you have the resources, and that's all this movie is - a series of exclusive resorts, grand buildings and posh people in expensive suits and frocks (most of which have dated badly). In a Moving Picture the emphasis should always be on the adjective - Burks was an outstanding talent, but please see his stunning photography in Rear Window, Vertigo or The Birds, where the camera actually tells the story and adds immensely to the atmosphere, as opposed to just sitting back and recording a pile of talky scenes. There are occasional flashes - like the moment where Kelly's head is all in shadow in the big seduction scene - which feel Hitchcockian and original, but these are few and far between. Similarly, the score by Lyn Murray (a man) is staid and forgettable - it could be slapped on any movie of the period and fit reasonably well. For his next film, the brilliant and hilarious The Trouble With Harry, Hitch employed Bernard Herrmann as composer, and right from the very first second the music is sublime, original, funny, scary and complements the images perfectly, whilst simultaneously having a character all of its own. Okay, so I don't like To Catch A Thief, and perhaps some of my criticisms are unfair. I'm sure most people would say don't be such a killjoy, it's so chic and elegant, such a treasure of fifties haute couture, a timepiece of Monte Carlo history, a classic of romantic badinage from an age when Movie Stars really were royalty. It may be all of those things, but I don't watch movies to marvel at expensive things I can't have - I watch them to see exciting stories and meet interesting characters I can identify and empathise with. Hitchcock's movies usually do that for me and then some, but this one is cold and lifeless, like the sparkly diamonds the characters all revolve around. A bore.
The big man was in jovial mood with this one.
hitchcockthelegend4 March 2008
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
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
Gorgeous, brilliant, whimsical and very entertaining
PaulusLoZebra11 July 2022
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.
A waste of a good premise - recommended for insomniacs only
jimbo-53-1865111 October 2014
Warning: Spoilers
Cary (I've been tango'd) Grant plays former jewel thief John Robie. When a spate of diamond thefts occur in the local vicinity, Robie becomes prime suspect. However, Robie is adamant that someone is copying his tried and tested method of stealing the diamonds in order to make it look like Robie is perpetrating the crimes himself. With the help of insurance broker H.H Hughson (John Williams), Robie attempts to catch the thief himself in order to prove his innocence.
There were a couple of major problems with this film and a primary example is the scene where the police arrive to question Robie and Robie comes up with an elaborate escape plan. I'll admit that this scene was clever and was quite amusing, but it didn't make sense. Why did he try and evade the police when he knew he was innocent? It might have been because he feared that they wouldn't believe him, but the fact that he scarpered would have just made him look guilty.
Another example of stupidity is when Hughson meets with Robie and hands him a list of his 10 wealthiest clients even though at this stage he only has Robie's word that he's innocent. How stupid? If Robie was lying about being innocent, there would have been nothing to stop him using this list to rob the diamonds himself and then disappear off into the sunset with the diamonds. It just didn't make sense narratively.
I'm not normally too harsh when judging a film with lots of plot holes as long as the film is either entertaining or interesting, but To Catch A Thief is neither of these things. It really started to go downhill when Grace Kelly's character was introduced and from this point on the film becomes pretentious, monotonous and downright boring. Kelly and Grant had no chemistry in this film and let's not even start with how phony their romance felt. Had the majority of the film focused on catching the thief rather than Kelly and Grant's dull and lifeless conversations then I'm sure this film might have been a lot more enjoyable.
The film then switches tone in the final third and almost started to live up to its premise - it was a bit more exciting and then we have the inevitable 'twist' revealing who the thief was, but by the time the perpetrator was revealed I was already way past caring. It actually took me two attempts to get through this film - I fell asleep the first time and therefore decided I'd watch it again and nearly fell asleep on the second viewing. If you're an insomniac then you can consider this film your cure, but for anyone else I'd steer clear as there are far better Hitchcock films out there.
There were a couple of major problems with this film and a primary example is the scene where the police arrive to question Robie and Robie comes up with an elaborate escape plan. I'll admit that this scene was clever and was quite amusing, but it didn't make sense. Why did he try and evade the police when he knew he was innocent? It might have been because he feared that they wouldn't believe him, but the fact that he scarpered would have just made him look guilty.
Another example of stupidity is when Hughson meets with Robie and hands him a list of his 10 wealthiest clients even though at this stage he only has Robie's word that he's innocent. How stupid? If Robie was lying about being innocent, there would have been nothing to stop him using this list to rob the diamonds himself and then disappear off into the sunset with the diamonds. It just didn't make sense narratively.
I'm not normally too harsh when judging a film with lots of plot holes as long as the film is either entertaining or interesting, but To Catch A Thief is neither of these things. It really started to go downhill when Grace Kelly's character was introduced and from this point on the film becomes pretentious, monotonous and downright boring. Kelly and Grant had no chemistry in this film and let's not even start with how phony their romance felt. Had the majority of the film focused on catching the thief rather than Kelly and Grant's dull and lifeless conversations then I'm sure this film might have been a lot more enjoyable.
The film then switches tone in the final third and almost started to live up to its premise - it was a bit more exciting and then we have the inevitable 'twist' revealing who the thief was, but by the time the perpetrator was revealed I was already way past caring. It actually took me two attempts to get through this film - I fell asleep the first time and therefore decided I'd watch it again and nearly fell asleep on the second viewing. If you're an insomniac then you can consider this film your cure, but for anyone else I'd steer clear as there are far better Hitchcock films out there.
To Catch A Thief- Don't Bother *1/2
edwagreen26 March 2007
This is probably one of Alfred Hitchcock's worst films. He would certainly redeem himself the following year with the classic "North by Northwest."
Other than breathtaking cinematography of the French Riviera, this film really has little to offer.
It is said that Cary Grant came out of retirement to make this. Thank the lord that he didn't resume retirement after it.
It's basically the story of someone copying the cat burglar techniques of former cat burglar John Robie (Grant.) There are chase scenes throughout the Riviera but the film is dull. We really reach the point where we don't care who the guilty party is.
As in the fabulous "North by Northwest," there is an exciting climatic scene but even that fails to realize the emotions needed.
Grant gives a fairly good performance but is hampered by the written material. Grace Kelly was still probably with a swell-head for her undeserved Oscar win, the year before, for "The Country Girl." The part of a rich, snobby, girl in the fast lane was good for her but she fails to capitalize on it. Her mother, Jesse Royce Landis, has some scene stealing scenes. Note that Landis appeared the following year in "North by Northwest" as Grant's mom.
Other than breathtaking cinematography of the French Riviera, this film really has little to offer.
It is said that Cary Grant came out of retirement to make this. Thank the lord that he didn't resume retirement after it.
It's basically the story of someone copying the cat burglar techniques of former cat burglar John Robie (Grant.) There are chase scenes throughout the Riviera but the film is dull. We really reach the point where we don't care who the guilty party is.
As in the fabulous "North by Northwest," there is an exciting climatic scene but even that fails to realize the emotions needed.
Grant gives a fairly good performance but is hampered by the written material. Grace Kelly was still probably with a swell-head for her undeserved Oscar win, the year before, for "The Country Girl." The part of a rich, snobby, girl in the fast lane was good for her but she fails to capitalize on it. Her mother, Jesse Royce Landis, has some scene stealing scenes. Note that Landis appeared the following year in "North by Northwest" as Grant's mom.
Escapism At Its Most Delicious
Pamela-529 August 2004
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!
A stunning looking but suspense lacking Hitchcock
Filmdokter26 January 2021
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.
One of the best caper films of all time
funkyfry24 September 2007
Warning: Spoilers
Alfred Hitchcock's most devoted fans might find this film to be too "light" but in my opinion it's one of his very best films, a joyous romp in the South of France with Cary Grant and Grace Kelly. The great location photography enhances the mood of the film perfectly and helps make this a really classy piece of "escapist" fun; like Tourneur's "Out of the Past", Welles' "Lady from Shanghai" and his own "Notorious", a lot of the film's appeal is from seeing beautiful and exotic people in a beautiful and exotic setting, trying to figure out how to stay alive in a situation where no-one and nothing seems familiar or trustworthy. Just as in most "exotic noir" films, the main character John Robie the "cat burglar" (Grant) has a mysterious criminal past which makes the female protagonist uncertain about whether to trust him. However this film stays away from the "dark" side of the caper genre by clueing the audience in very early as to the protagonist's innocence, thus making the female protagonist the more interesting character as far as motives and judgments.
For me, the main reason to watch this film is always Grant, so suave and self-deprecating as the once-notorious cat burglar. Since as I said we know he's innocent, what's interesting about his character is the way he reacts to the fact that so many other people think he's guilty. Robie seems to actually enjoy being implicated, except insofar as he values his freedom and his lifestyle very highly. This film is built on irony, and the greatest irony of all is that in the end Robie finds a woman (Kelly) to whom he will willingly accept the loss of both (he will now welcome a mother-in-law to his paradise villa). Now in a lot of Grant's 50s/60s movies we see the female protagonist actually seducing Grant, but it was never handled as well as in this film. That's because the element of seduction coincides in so many convincingly ironic ways with his other motivations. 2 scenes in particular stand out in this regard to me. The first is the scene with Kelly driving reluctant passenger Grant at very high speeds on the edges of cliffs as cops chase them. This time it is not his own ingenuity that will save him, and it's interesting how Kelly slowly plays her cards until she throws out her joker and completely trumps him she knows his true identity. This scene is reminiscent of the one in "Notorious" where Grant is driven by a drunken Ingrid Bergman (or, for that matter, the one in "NxNW" where he's driven by a drunken .. Cary Grant!). Hitch seems to revel in placing the ultimate leading man in dangerous and humiliating circumstances it's essential to the development of the character that he be humbled just a bit by Kelly just as she will later be humbled to discover that he was not the thief she thought he was.
It's the juicy irony of that situation that really makes the developing romantic relationship work Kelly's character thinks that she understands Grant and she is chasing him just like he's chasing the real thief. In the first place she aggressively kisses him before he really speaks to her (an element lifted for Donen's derivative "Charade") so she's already chasing him in a sense just because she's so fascinated by his seemingly unique ability to ignore her. Then in the second really important love scene, the "fireworks" scene, Kelly thinks she has him all figured out "you've been staring at them all night" she says, referring to her jewels even though Robie was probably staring at her more, shall we say, uniquely feminine features in that particular region. As Hitchcock keeps us guessing about what each lover truly desires in the other, he gives this romance great depth and verity by engaging our own desire to be close to these fascinating intelligent characters and by enticing us with the irony of their conflicting motives.
OK, another thing this is Grace Kelly at her best. Compared to most of her other performances, this is truly astounding, confident work. I can't forget the look in her eyes as she tours the villa with Grant totally convincing and yet somehow haunting, a young woman in love but not sure exactly what she's getting into. Every time I see a bad Kelly movie I pick this one up again to remind myself of just how much a director can do to bring out the most in an actor. Even Grant is better than usual here, perfectly mixing his comedic and dramatic personae for really the first time as far as I'm aware. In "Suspicion" he and Hitch toyed with and deconstructed his normal screen persona but this film is tome even more impressive and enjoyable because it took that persona and instead of contradicting it ("Suspicion") or simply undermining it (i.e. Hawks' "Male War Bride") they exaggerated it and played more subtly with the sexual element of the "catch" and the question of who exactly "catches" who and more importantly and amusingly, why.
I'll leave it to others to discuss all the other solid performances, the director's techniques, etc. All of it is true, but this film is really all about Grant and Kelly's characters, in danger and in love (the film asks: is there a difference?) and having the time of their lives. It's an intelligent, suspenseful, romantic movie with two exciting lead actors, beautiful locations well photographed, gorgeous costumes that enhance character and plot (e.g. Grant's "slave boy" costume in the grand ball), all captured by one of the world's best directors at the peak of his abilities. And I do mean captured. This is a rare beast and should be appreciated as such, and not for what people might wish it was trying to be.
For me, the main reason to watch this film is always Grant, so suave and self-deprecating as the once-notorious cat burglar. Since as I said we know he's innocent, what's interesting about his character is the way he reacts to the fact that so many other people think he's guilty. Robie seems to actually enjoy being implicated, except insofar as he values his freedom and his lifestyle very highly. This film is built on irony, and the greatest irony of all is that in the end Robie finds a woman (Kelly) to whom he will willingly accept the loss of both (he will now welcome a mother-in-law to his paradise villa). Now in a lot of Grant's 50s/60s movies we see the female protagonist actually seducing Grant, but it was never handled as well as in this film. That's because the element of seduction coincides in so many convincingly ironic ways with his other motivations. 2 scenes in particular stand out in this regard to me. The first is the scene with Kelly driving reluctant passenger Grant at very high speeds on the edges of cliffs as cops chase them. This time it is not his own ingenuity that will save him, and it's interesting how Kelly slowly plays her cards until she throws out her joker and completely trumps him she knows his true identity. This scene is reminiscent of the one in "Notorious" where Grant is driven by a drunken Ingrid Bergman (or, for that matter, the one in "NxNW" where he's driven by a drunken .. Cary Grant!). Hitch seems to revel in placing the ultimate leading man in dangerous and humiliating circumstances it's essential to the development of the character that he be humbled just a bit by Kelly just as she will later be humbled to discover that he was not the thief she thought he was.
It's the juicy irony of that situation that really makes the developing romantic relationship work Kelly's character thinks that she understands Grant and she is chasing him just like he's chasing the real thief. In the first place she aggressively kisses him before he really speaks to her (an element lifted for Donen's derivative "Charade") so she's already chasing him in a sense just because she's so fascinated by his seemingly unique ability to ignore her. Then in the second really important love scene, the "fireworks" scene, Kelly thinks she has him all figured out "you've been staring at them all night" she says, referring to her jewels even though Robie was probably staring at her more, shall we say, uniquely feminine features in that particular region. As Hitchcock keeps us guessing about what each lover truly desires in the other, he gives this romance great depth and verity by engaging our own desire to be close to these fascinating intelligent characters and by enticing us with the irony of their conflicting motives.
OK, another thing this is Grace Kelly at her best. Compared to most of her other performances, this is truly astounding, confident work. I can't forget the look in her eyes as she tours the villa with Grant totally convincing and yet somehow haunting, a young woman in love but not sure exactly what she's getting into. Every time I see a bad Kelly movie I pick this one up again to remind myself of just how much a director can do to bring out the most in an actor. Even Grant is better than usual here, perfectly mixing his comedic and dramatic personae for really the first time as far as I'm aware. In "Suspicion" he and Hitch toyed with and deconstructed his normal screen persona but this film is tome even more impressive and enjoyable because it took that persona and instead of contradicting it ("Suspicion") or simply undermining it (i.e. Hawks' "Male War Bride") they exaggerated it and played more subtly with the sexual element of the "catch" and the question of who exactly "catches" who and more importantly and amusingly, why.
I'll leave it to others to discuss all the other solid performances, the director's techniques, etc. All of it is true, but this film is really all about Grant and Kelly's characters, in danger and in love (the film asks: is there a difference?) and having the time of their lives. It's an intelligent, suspenseful, romantic movie with two exciting lead actors, beautiful locations well photographed, gorgeous costumes that enhance character and plot (e.g. Grant's "slave boy" costume in the grand ball), all captured by one of the world's best directors at the peak of his abilities. And I do mean captured. This is a rare beast and should be appreciated as such, and not for what people might wish it was trying to be.
A Different HItchock
Hitchcoc3 December 2016
Pairing Cary Grant with Grace Kelly certainly put the pretty people of America on the screen big time. This is a classic film that has been copied many times. It involves a high powered jewel theft by a master criminal. But to attain this one must put a lot at risk. The strength of this is the script with a kind of sexual byplay between the two principles. Of course, we must remember that this is the fifties and it seems pretty tame. I always considered Ingrid Bergman and Grace Kelly to be the most beautiful actresses of their time (perhaps for all time). With the suave jewel thief Grant and the cool blonde Kelly, we have a formula for success. Of course, there is also Hitchcock. MOre lightweight than many of his other films but well worth seeing.
A Little Intrigue, But Mostly Big Names & High Society
zkonedog8 March 2017
Warning: Spoilers
Alfred Hitchcock films usually fall into one of two categories: either they are taught, tense thrillers (e.g. Psycho), or they contain a lot of "eye candy" in both the acting and cinematography department. "To Catch A Thief" falls mostly in that second category.
For a basic plot summary, this film focuses on retired jewel thief John Robie (Cary Grant), who may or may not be continuing his string of past burglaries (or is he being framed?). Along the way, Robie meets and falls hard for Frances Stevens (Grace Kelly).
There are many things about this movie to enjoy. It is (as befitting a Kelly flick) "high fashion, high society" all the way, with diamonds and ball gowns figuring heavily into the screenplay. Kelly and Grant both play the exact same persona they are known for, but do so perfectly. There is romance, humor, and a whole lot of tuxedos/gowns.
However, those into Hitchcock for his plots/suspense will be disappointed when, after a strong start, the film loses its dramatic steam about half way through. In a rare Hitch faux pas, the suspense kernel of the film is resolved roughly at the midpoint, allowing the "society" stuff to dominate the rest of the way.
Overall, this is very much more of a light-hearted Hitchcock effort. It has a bit of decent plot, but this one is all about the actors and their high-society roles. If you like that kind of filmmaking, then this one will be a real treat for you. If not, it will just be so-so.
For a basic plot summary, this film focuses on retired jewel thief John Robie (Cary Grant), who may or may not be continuing his string of past burglaries (or is he being framed?). Along the way, Robie meets and falls hard for Frances Stevens (Grace Kelly).
There are many things about this movie to enjoy. It is (as befitting a Kelly flick) "high fashion, high society" all the way, with diamonds and ball gowns figuring heavily into the screenplay. Kelly and Grant both play the exact same persona they are known for, but do so perfectly. There is romance, humor, and a whole lot of tuxedos/gowns.
However, those into Hitchcock for his plots/suspense will be disappointed when, after a strong start, the film loses its dramatic steam about half way through. In a rare Hitch faux pas, the suspense kernel of the film is resolved roughly at the midpoint, allowing the "society" stuff to dominate the rest of the way.
Overall, this is very much more of a light-hearted Hitchcock effort. It has a bit of decent plot, but this one is all about the actors and their high-society roles. If you like that kind of filmmaking, then this one will be a real treat for you. If not, it will just be so-so.
"From where I sat it looked as though you were conjugating some irregular verbs."
bensonmum29 February 2006
Warning: Spoilers
A string of daring jewel robberies on the French Riviera leads the police to suspect one-time cat-burglar John Robie (Cary Grant). Robie claims to be reformed but the police suspect otherwise. As the police seem so intent on following him instead of looking for the real crook, Robie decides to track down the thief himself. He soon meets and begins a romance with Frances Stevens (Grace Kelly) whose mother happens to have her own collection of valuable gems. But when Frances' mother's jewels are stolen, she naturally suspects Robie. Robie must convince Frances of his innocence and, with her help, finally unmask the real cat-burglar.
To Catch a Thief may not have Hitchcock's most suspenseful or intricate plot, but it's certainly one of Hitch's best looking films. Everything is simply beautiful. The French Riviera locations are amazing. Odd, craggy points that lead to the crystal blue ocean are filmed like works of art. It looks better than any travelogue you're likely to see. The old, unique, character-filled buildings make for stunning backdrops to the unfolding story. And, has there ever been a better looking on-screen couple than Grant and Kelly? I doubt it. These two can make the most mundane of scenes look like a million dollars.
As for the plot, it's not overly difficult to figure out who the real burglar is. The movie all but slaps you in the face with the answer. But the fun comes in watching Grant and Kelly get to the final conclusion. The final showdown between the police, Robie, and the cat-burglar is great. Other highlights for me included the swimming scene, the boat scene, and the picnic scene. Unfortunately, I've always felt there were few instances where To Catch a Thief drags a bit. There are a number of scenes where cars drive back and forth along twisting mountainous roads. And while the scenery is breathtaking, a bit more intrigue might have been a plus. Grant and Kelly's charm, however, is generally enough to offset these moments.
Overall, it may not be Hitch's best, but I've always enjoyed revisiting To Catch a Thief.
To Catch a Thief may not have Hitchcock's most suspenseful or intricate plot, but it's certainly one of Hitch's best looking films. Everything is simply beautiful. The French Riviera locations are amazing. Odd, craggy points that lead to the crystal blue ocean are filmed like works of art. It looks better than any travelogue you're likely to see. The old, unique, character-filled buildings make for stunning backdrops to the unfolding story. And, has there ever been a better looking on-screen couple than Grant and Kelly? I doubt it. These two can make the most mundane of scenes look like a million dollars.
As for the plot, it's not overly difficult to figure out who the real burglar is. The movie all but slaps you in the face with the answer. But the fun comes in watching Grant and Kelly get to the final conclusion. The final showdown between the police, Robie, and the cat-burglar is great. Other highlights for me included the swimming scene, the boat scene, and the picnic scene. Unfortunately, I've always felt there were few instances where To Catch a Thief drags a bit. There are a number of scenes where cars drive back and forth along twisting mountainous roads. And while the scenery is breathtaking, a bit more intrigue might have been a plus. Grant and Kelly's charm, however, is generally enough to offset these moments.
Overall, it may not be Hitch's best, but I've always enjoyed revisiting To Catch a Thief.
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