Hitchcocktober 2011 Episode 1: To Catch a Thief

Hello and happy Hitchcocktober!

Hitchcocktober was a yearly tradition of Movie Club, a Wilmore, KY based establishment over which I enjoyed presidency. Throughout the years, Wednesday nights in October were devoted to Alfred Hitchcock's classic films. We watched the giants: Vertigo, Rear Window, North by Northwest, Psycho, The Birds. We watched second tier greats: Dial M for Murder, The Man Who Knew Too Much, Strangers on a Train, Suspicion, Rebecca, (the only Hitchcock Film to win the Oscar for Best Picture). We forayed into the somewhat obscure, but still awesome, realms of Hitchcock-Topia like Lifeboat and Rope.

Here at Verbal Infusion, we would like to continue the Hitchcocktober tradition and devote a few posts this month to the master of suspense, Alfred Hitchcock. It won't be a daily thing, but look for one or maybe two entries a week devoted to Hitchcocktober.

This post contains NO spoilers.

----------------------------------------------------------------------------------------------------------------------------------

To Catch a Thief

Who says it's wrong to start with dessert?

I want, simply and quickly, to tell you why you should sit down and enjoy Alfred Hitchcock's To Catch a Thief. I'll make it short and sweet. Promise.

The first few minutes of To Catch a Thief contain mystery, a car chase, and eyeful upon eyeful of the stunning French Riviera. The scenery alone makes this a worthwhile watch, as your heart will yearn after the stunning coasts and hills of green.

From there on it's more mystery, more sweeping views of the French Riviera, Brigitte Auber in a bathing suit, Cary Grant's charming good looks, and, oh yeah, Grace Kelly. Lots and lots of Grace Kelly. The very first shot of Grace features her oiling herself in a yellow bathing suit. If all of that doesn't sound like your kind of thing, then maybe you aren't alive....You are alive, aren't you?



It may not be the Filet Mignon of The Hitchcock spread. The Filet Mignons are films like the brilliant Vertigo or the practically perfect Rear Window. To Catch a Thief can't be ingested, digested, and dissected layer by layer the way the giants can.

To Catch a Thief is the creme brulee'. It's sweet, light, and it goes down so, so easy.

In case you forgot:



Unlike Grace Kelly, the film isn't perfect. The opening scene (beyond the opening credits) of a woman screaming past the camera is comically dated. One actor evidently couldn't speak a word of English and his lines were obviously and shoddily dubbed. It doesn't achieve the greatness of the Hitchcock giants.

But it also features scenes like this: (This clip is also spoiler free.)

Edible Scene. Yum.

This scene is so rich it looks almost fit to eat. Anyone with even decent knowledge of film will recognize the slick film-making prowess displayed here, and experienced filmmakers (cinematographers, in particular) will be drooling by the end.

You'll notice that I haven't said a word about the plot. I'm not going to. That's not to shortchange the story (which is intriguing to the last) or to suggest that the plot takes back seat to the tropical eye candy. I simply want you to remember that one of the most analyzed (and over-analyzed) filmmakers of all time also made some cinematic sweets to go along with the gritty Psychos, the convoluted Vertigos, and the philosophically heavy Ropes and Lifeboats.

If you've seen the Hitchcock giants but have never savored this sugary treat, you're long overdue. If you've never forayed into the world of Hitchcock, well, it's not always a terrible idea to start with dessert.


By Jonny Walls