Grant and Kelly are on sparkling form, as is Jessie Royce Landis as the latter's formidable and smirky mother, and the French Riviera is beautifully captured by the Oscar-winning cinematography of Robert Burks.
Francie finds something inauthentic in Robie: "like an American in an English movie". Well, yes, perhaps. But Grant's debonair and oddly unlocatable mid-Atlantic identity is absolutely right for the part.
Hitchcock and screenwriter John Michael Hayes posited voyeuristic spectacle as the essence of cinema in Rear Window; in To Catch a Thief they validate their thesis with plenty of spectacle to be voyeuristic over.
One of the most lightweight (and not even particularly deceptively so) of Hitchcock's comedy-thrillers; a retreat from the implications of Rear Window into the realm of private jokes and sunny innuendo.