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The Man Who Knew Too Much

The Man Who Knew Too Much (1935)

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Average Rating: N/A
Critic Reviews: 4
Fresh: 3 | Rotten: 1

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Average Rating: 3.5/5
User Ratings: 8,415

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Movie Info

The first film version of The Man Who Knew too Much proved to be the international "breakthrough" film for British director Alfred Hitchcock, transforming him from merely a talented domestic filmmaker to a worldwide household name. While vacationing in Switzerland, Britons Leslie Banks and Edna Best befriend jovial Frenchman Pierre Fresnay. Not long afterward, Fresnay is murdered. He whispers a secret in Banks' ear before expiring. This is witnessed by several sinister foreign agents, who kidnap

Jan 21, 2003

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All Critics (27) | Top Critics (4) | Fresh (24) | Rotten (3) | DVD (5)

Although the film is fast and consistently clever, it is more deeply flawed than any other Hitchcock film of the period, failing to find a thematic connection between its imaginative set pieces.

March 27, 2009 Full Review Source: Chicago Reader | Comments (2)
Chicago Reader
Top Critic IconTop Critic

An unusually fine dramatic story handled excellently from a production standpoint.

March 26, 2009 Full Review Source: Variety
Variety
Top Critic IconTop Critic

Directed with a fascinating staccato violence by Alfred Hitchcock, it is the swiftest screen melodrama this column can recall.

August 8, 2006 Full Review Source: New York Times
New York Times
Top Critic IconTop Critic

Vintage Hitchcock, with sheer wit and verve masking an implausible plot.

June 24, 2006 Full Review Source: Time Out
Time Out
Top Critic IconTop Critic

Hitchcock's tone is odd, with clever set pieces and tightly-constructed and edited sequences interspersed with awkward scenes of emotional restraint ("Steady, old girl, steady") and disconnected characters.

March 24, 2013 Full Review Source: Parallax View
Parallax View

It's not that The Man Who Knew Too Much is necessarily boring, but it lacks that riveting suspense Hitchcock became known for later on in his career.

January 21, 2013 Full Review Source: Examiner.com
Examiner.com

In the final analysis, the 1934 and 1956 versions are comparable in quality for different reasons, but the greatest single component of either film can be found in this '34 edition: the great performance by Peter Lorre as a menacing criminal mastermind.

January 17, 2013 Full Review Source: Creative Loafing
Creative Loafing

not a particularly great film, although it is filled with isolated moments of greatness and hints of masterpieces to come

January 15, 2013 Full Review Source: Q Network Film Desk
Q Network Film Desk

The first version of this story is grim, simpler and less technically accomplished than Hitchcock's own 1956 remake; Peter Lorre, in his first English-speaking role, is scary.

August 10, 2012 Full Review Source: EmanuelLevy.Com
EmanuelLevy.Com

This is a suberbly structured thriller whose excellence is aided and abetted by a spirited cast.

March 27, 2009 Full Review Source: Empire Magazine
Empire Magazine

Much more fun than the more expensive and longer 1956 remake.

September 18, 2007 Full Review Source: Ozus' World Movie Reviews
Ozus' World Movie Reviews

Ainda refinando as técnicas que passaria a dominar com perfeição, Hitchcock cria um filme divertido, mas obviamente falho.

November 26, 2005 | Comments (2)
Cinema em Cena

First and best version of the story.

August 24, 2003
Mountain Xpress (Asheville, NC)

Full of suspense, hijinks and that particular brand of gallows humour that can only be described as 'Hitchcockian'.

May 24, 2003 Full Review Source: Film4
Film4

The earlier version scores two great points over its remake. One, of course, is Peter Lorre's brilliant, wheedling turn as the oleaginous Mr Abbott. The other is its climax.

March 5, 2002 Full Review Source: Sight and Sound
Sight and Sound

[The film] never fails to intrigue you with its great characters and storytelling.

January 1, 2000 Full Review Source: rec.arts.movies.reviews
rec.arts.movies.reviews

Audience Reviews for The Man Who Knew Too Much

This is basically the film that really saw Hitchcock's film career take off and become something grand. It has his real breakout hit, and even had the distinction of being remade (by Hitchh imself), in a version that a number of people say is far superior. I haven't seen that one yet, but I plan to.

The plot concerns a man who, after learning of some dire news concerning an upcoming assassination, finds his daughter kidnapped by some people who witnessed him learning of their diabolical plot. The film then shifts to him trying ot rescue his daughter on his own as well as to stop the planned killing from taking pace.

This is fast paced and familiar Hitch, but it all a lot of fun, and pretty well done. For what it's worth, it also features the English language debut of Peter Lorre, and he does quite a decent job here.

All in all, this is a pretty decent way to spend 75 minutes, and there's a lot of good set pieces and moments that amp up the suspense and entertainment value. Give it a go.
December 31, 2011
cosmo313
Chris Weber

Super Reviewer

Hitchcock was still learning his craft and improving his directing skills when he made this unimpressive, thematically flawed film that even he disliked. The humor eliminates most of the tension, while the weak script has villains whose motivations are never clear enough. No wonder why he decided to refilm this.
October 12, 2011
blacksheepboy

Super Reviewer

Where some directors reach a creative peak from which further innovation becomes impossible, Alfred Hitchcock was constantly developing as a filmmaker, pushing the limits of what he could achieve on screen. But while this has given us some of the most superbly crafted films ever made, it has the downside of making his early work rather uneven. The Man Who Knew Too Much, like Murder! before it, finds the master still finding himself, and for all its qualities it cannot be considered a classic.

There is some natural interest in The Man Who Knew Too Much as the only film which Hitchcock ever remade. Our first thought would be that 'Hitch' was somehow dissatisfied with the results the first time around; he was, after all, working with very little money at the height of the studio system where producers held sway. But such levels of dissatisfaction with his other movies in this period never prompted him to remake any of them. For years he would express regret for the bomb going off in Sabotage, but he never contemplated building a new one to have another go.

Instead, the reason for the remake lies in Hitchcock's career-long emphasis on technique over content. The remake starring Jimmy Stewart and Doris Day differs greatly from the original, not because Hitch didn't like the original, but because he saw great potential in telling the same story with more money in a slightly different way. Just as the Indiana Jones series re-imagined the classic serials of the 1930s as they would have been had they actually had budgets, so the remake is Hitchcock paying tribute to the bits of the original that work and updating those that don't.

In terms of its story, The Man Who Knew Too Much is a decent thriller about ordinary people being caught up in espionage. It is perhaps the first of Hitchcock's films to have the 'ordinary people' trope - a recurring theme of seemly unremarkable characters getting involved in matters beyond their prior knowledge or control. The opening section at the ski resort is shot in such a pleasant and charming manner that it doesn't feel like a contrived way of putting our protagonists in danger.

There are a couple of memorable scenes in the 'detective' section of the film, with the characters snooping around for clues as to when the assassins are planning to strike or where they have hidden the girl. The first comes in the backstreet dentist's, where Leslie Banks confronts a dentist who works for the mob, anaesthetises him and then switches clothes so he can listen in on Peter Lorre's conversations. The other comes shortly afterwards in the church, where Banks and his companion pose as sun worshippers in a bid to find out what is going on.

Both of these examples are like warm-ups for The 39 Steps, and the two films also share a common theme of loyalty to one's country being in opposition with personal loyalties and the need to save one's own skin. When Banks' daughter is kidnapped, he is informed that if he says anything to the authorities he will never see her again. He and his wife are so distraught at the prospect of her being killed that they refuse to say anything to the man from the Foreign Office. When he retorts that "not caring about unknown men" effectively led to WWI, they simply ask him to leave.

From a technical perspective, The Man Who Knew Too Much is a pretty solid effort. It doesn't have the stagey quality that Murder! did for much of its running time, and the production values are a lot higher. The wide shots are especially accomplished, particularly the clay-pigeon shooting at the beginning and the tense sequence in the Royal Albert Hall when the assassination is due to take place. The attempted assassination at the opera during The Godfather Part III closely resembles this scene, although in that case the assassin fails to make an attempt, rather than making an attempt that fails.

In other areas, however, the film is not so technically sound. Whether due to poor technology at the time or the age of the print, the sound quality is quite bad, and this becomes particularly noticeable in the scenes at the Royal Albert Hall. Some of Hitch's editing choices are quite unusual, with characters' conversations being cut off before they seemed to have been properly resolved. And the cinematography is nothing remarkable: Curt Courrant would later shoot Jean Renoir's La Bete Humaine, but here he seems to be phoning it in with fairly standard contrasts and compositions.

The film fares much better in its performances. At the time of filming Peter Lorre could barely speak English: he learned all his lines phonetically, picking up bits and pieces from the crew between takes. Despite the language barrier his characterisation is great, creating a villain who has a childlike, almost babyish quality while also being ruthless, intolerant and deaf to any form of mercy. Drawing on his earlier performance in Fritz Lang's M, he creates a villainous archetype which can be seen in everything from Richard Attenborough's Pinkie Brown in Brighton Rock to Ron Lacey's sadistic Gestapo in Raiders of the Lost Ark.

The performances around Lorre are also pretty solid. Nova Pilbeam was only 15 when filming began but she does very well with so little screen time. Her career crossed paths with Hitchcock twice more, as she was considered first for Margaret Lockwood's role in The Lady Vanishes and later for Joan Fontaine's part in Rebecca. Leslie Banks and Edna Best make a convincing couple, balancing fear and trepidation with some level of resourcefulness, whether it's spying or using a gun. And George Curzon makes the best he can of the sidekick Gibson, with his role being the bumbling Watson to Banks' Sherlock Holmes.

The big problem of The Man Who Knew Too Much lies, ironically enough, in its suspense. Because it reveals its hand so early on, there is far less in the way of intrigue or tension than there might have been or could have been from such a story. The film is one of Hitchcock's shortest features at only 75 minutes long, and if it were being made today its plot would barely stretch to an hour-long episode of Poirot.

The source of this problem is in the lack of another Hitchcockian trope, the McGuffin. Once it is clear that Abbott is plotting an assassination, there is nothing for the action to hide behind: it becomes more or less a case of watching all the pieces fit together and letting the set-pieces do the rest. There's still the pleasure of seeing the story being resolved without any plot holes or ridiculous twists, but it doesn't have the climactic thrill we have come to expect from Hitchcock.

In The 39 Steps, the final confrontation between Richard Hannay and the spies was built up successfully through increasingly elaborate set-pieces, so that by the time we reached the final scene it carried some form of emotional significance rather than just bringing the story to a close. But on this occasion, the big climax - a shootout between assassins and police - feels tacked-on and somewhat shapeless. Rather than building bit by bit, it goes on for a certain amount of time until Hitch sees fit for some of the bullets to hit their targets, and Lorre dies in a way which seems underwhelming for such a memorable character.

The Man Who Knew Too Much is a solid, jobbing effort from Hitchcock on a par with his earlier work in Murder!. It's nothing to write home about in terms of its story or execution, and like much of Hitch's earlier films it has not stood the test of time all that well. But there is just about enough in the quality of the performances and aspects of its technical execution to pass muster for a decent, if forgettable, evening's entertainment.
July 2, 2011
Daniel Mumby
Daniel Mumby

Super Reviewer

Although the remake is more stylized and has more popular stars, the original movie is really pretty good.
September 8, 2010
ajv2688

Super Reviewer

There are no approved quotes yet for this movie.

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Foreign Titles

  • Der Mann, der zuviel wusste (DE)
  • The Man Who Knew Too Much (1934) (UK)
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