UHD Review A Few Words About A few words about...™ - The Man Who Knew Too Much (1956) -- in 4k UHD (1 Viewer)

[OliverK]

Absolutely, it’s great we all can discuss our opinions. I think Stewart’s performance in this film is miles about his performance as Scotty in Vertigo. To me, none of the charm I get from watching a Jimmy Stewart film were present in Vertigo.

I think that Stewart is very good in Vertigo in so far as he was doing what Hitchcock wanted him to do. He wasn't supposed to be the Jimmy Stewart people knew and he wasn't supposed to be that likeable.

I can see how you would enjoy him more in The Man Who Knew Too Much and I look forward to watching it again myself - I have fond memories of it even though it does not have the critical stature of Vertigo or Rear Window.

 

[Robin9]

I think that Stewart is very good in Vertigo in so far as he was doing what Hitchcock wanted him to do. He wasn't supposed to be the Jimmy Stewart people knew and he wasn't supposed to be that likeable.

Absolutely. You've hit the nail on the head.

 

[John Maher_289910]

Absolutely, it’s great we all can discuss our opinions. I think Stewart’s performance in this film is miles about his performance as Scotty in Vertigo. To me, none of the charm I get from watching a Jimmy Stewart film were present in Vertigo.

I dislike every character in VERTIGO. The main reason I don't rate it very highly on the Hitchcock scale. In fact, I barely acknowledge its existence. I think I've seen it 3 times to try and like it. I always have to root for somebody in a film. I do love the first 30 or so minutes of it (all the following stuff in the beginning), but the entire obsession thing is completely lost on me. I never buy his obsession with her and, frankly, just find the entire thing annoying. Never understood the adoration for it, at all. That's okay, Hitchcock certainly made enough movies I love. TMWKTM for one.

 

[PMF]

https://www.loc.gov/static/programs/national-film-preservation-board/documents/pub158.final_version_sept_2013.pdf

The Survival of the American Silent Feature Films: 1912-1929 by David Pierce.

Many thanks to RAH for steering us towards this volume.

I ordered my copy, just moments ago.

 

[Charles Smith]

For those in the area, MWKTM will be screened in SuperVistaVision 4k at the Bedford Playhouse in NY on Sunday at 1PM.

Thankfully, I am, in fact, in the area. Anything is worth driving to Bedford for, but especially a truly restored film like this one. Huge thanks to RAH for his contributions, and for acquiring it for this one-time screening.

I've seen MWKTM any number of times, and it was always a favorite. Oddly, through this period of discussion, I happened to recall that this would literally have been my first ever Hitchcock film, seen on a 1963 double-feature rerelease with The Trouble With Harry. But while Harry was a little on the boring side for the young me in those years, I was 100% thrilled with MWKTM. And for a young musician, the unique use of music in the film was irresistible.

To cut to the chase, seeing - and hearing - the restored MWKTM is a revelation. From the opening VistaVision fanfare to that fast closing scene, I'd be surprised if my mouth wasn't wide open in amazement the whole time. The clarity, the colors, the beautiful fine grain. The stunning, crystal clear Perspecta track. You can't ask for more. But it's Hitchcock, so of course there's more. I'm one who happens to love this one's casting and acting, and the restoration itself allowed me to take all of that in at a much more satisfying level than ever before.

Back to the musical aspect -- the new clarity also afforded pleasure at seeing one of the few GREAT examples of a musical piece being performed with picture and audio in what looked like perfect sync. In my experience, scenes in older films that feature conductors and/or instrumentalists plying their craft rarely ever achieve this level of believability. But here, from Bernard Herrmann's really fine conducting, to every last member of the orchestra and chorus, there's never any question that they were really performing the hell out of Mr. Benjamin's Storm Clouds Cantata. This should have been evident throughout the years, but I'd never had the pleasure of studying it on the big screen like I was about to climb into it. Of course that entire sequence is incredible on so many levels.

So, a first class presentation of a wonderful film, in perfect surroundings. It was followed by a Q&A with RAH, moderated by Janet Maslin, former critic of the NY Times. These are always educational and entertaining. Thanks to RAH and all concerned.

 

[Charles Smith]

BTW, how great to also see HTF's own PMF who drove several times the distance I did to take this in. The two of us even proceeded to burn up an additional four hours there, in discussion about this event and various other film-related topics. A great day.

 

[Robert Harris]

Thankfully, I am, in fact, in the area. Anything is worth driving to Bedford for, but especially a truly restored film like this one. Huge thanks to RAH for his contributions, and for acquiring it for this one-time screening.

I've seen MWKTM any number of times, and it was always a favorite. Oddly, through this period of discussion, I happened to recall that this would literally have been my first ever Hitchcock film, seen on a 1963 double-feature rerelease with The Trouble With Harry. But while Harry was a little on the boring side for the young me in those years, I was 100% thrilled with MWKTM. And for a young musician, the unique use of music in the film was irresistible.

To cut to the chase, seeing - and hearing - the restored MWKTM is a revelation. From the opening VistaVision fanfare to that fast closing scene, I'd be surprised if my mouth wasn't wide open in amazement the whole time. The clarity, the colors, the beautiful fine grain. The stunning, crystal clear Perspecta track. You can't ask for more. But it's Hitchcock, so of course there's more. I'm one who happens to love this one's casting and acting, and the restoration itself allowed me to take all of that in at a much more satisfying level than ever before.

Back to the musical aspect -- the new clarity also afforded pleasure at seeing one of the few GREAT examples of a musical piece being performed with picture and audio in what looked like perfect sync. In my experience, scenes in older films that feature conductors and/or instrumentalists plying their craft rarely ever achieve this level of believability. But here, from Bernard Herrmann's really fine conducting, to every last member of the orchestra and chorus, there's never any question that they were really performing the hell out of Mr. Benjamin's Storm Clouds Cantata. This should have been evident throughout the years, but I'd never had the pleasure of studying it on the big screen like I was about to climb into it. Of course that entire sequence is incredible on so many levels.

So, a first class presentation of a wonderful film, in perfect surroundings. It was followed by a Q&A with RAH, moderated by Janet Maslin, former critic of the NY Times. These are always educational and entertaining. Thanks to RAH and all concerned.

It’s always an enlightening to see a film on a huge screen as a true representation of the filmmaker’s intent.

Get’s me every time!

 

[jim_falconer]

Must be amazing to see this film on the big screen, with the music at the Royal Albert Hall

 

[Robert Harris]

Must be amazing to see this film on the big screen, with the music at the Royal Albert Hall

If you have a local theater with a large screen, and a great sound system, you might ask that they book it.

The VVLA fanfare works well on the 4k disc, but it’s not the same as a proper theater. And yes, the Albert Hall sequence on a huge screen and in Perspecta is stunning.

 

[Paul Penna]

The VVLA fanfare works well on the 4k disc, but it’s not the same as a proper theater. And yes, the Albert Hall sequence on a huge screen and in Perspecta is stunning.

Was the music audio recorded in Albert Hall? Its size and shape have often presented challenges in recording symphonic music.

 

[Robert Harris]

Was the music audio recorded in Albert Hall? Its size and shape have often presented challenges in recording symphonic music.

Not certain about that, but it was the only piece of music in the film recorded in 3-track stereo.

 

[Peter Apruzzese]

If you have a local theater with a large screen, and a great sound system, you might ask that they book it.

The VVLA fanfare works well on the 4k disc, but it’s not the same as a proper theater. And yes, the Albert Hall sequence on a huge screen and in Perspecta is stunning.

I'll be bugging my friend/former boss to book it at his new facility in Fort Lee, NJ next year. Wanted to go see your show at Putnam but I spent 9 hours on the road Saturday so another trip was out.

 

[Wayne Klein]

I neglected to mention that I feel this film is ripe for reappraisal.

Agreed. I saw the film as part of the 80’s reissues in theaters as I recall. It‘s seriously underrated.

 

[Noel Aguirre]

I neglected to mention that I feel this film is ripe for reappraisal.

And Doris Day in particular never got the respect she deserved as an actor as she like Frank Sinatra were primarily considered singers. She is sublime in this film especially the scene when she gets the lowdown about her son’s predicament. She could do everything drama, comedy, musical comedy, sitcoms….

 

[dpippel]

My wife and I watched this last night. What a superb presentation! VistaVision, baby!!

 

[Brian Dauth]

I saw the film at Film Forum (NYC) tonight, and my high estimation of it has ascended even further.

The films feels like Hitchcock's attempt to make a Douglas Sirk movie in his own style. He lets the interplay/bickering between Ben and Jo play out at length, with the payoff being in the Albert Hall sequence when McKenna arrives. We cannot hear what they are saying, so Jo may just be filling her husband in, but there is also the hint that there is bickering going on as well, which enriches the scene.

The sound is better as well--I never realized Louis Bernard's dying words were supposed to be heard. And the carrying of Jo's singing up the stairs combined with Tomasini's editing is superb. I always felt a slight letdown after the Albert Hall sequence, but the dark, burnished interiors of the embassy, and the better sound, made the whole sequence work on a deeper level than it had before. The connection between the efforts of Jo McKenna and Lucy Drayton to save Hank resonate so beautifully now.

Godard wrote that TMWKTM was both the most improbable and the most realistic of Hitchcock's films, and he was right--improbable that the spy plot would unfold as it does, and realistic about a 1950's marriage where a woman makes/is required to make sacrifices for her marriage and her husband (is the compentence and abiity of Jo, a veiled compliment from Hitchcock to Alma, who gave up her career for his?).

But in the end, wives will not be silenced by their husbands, even though McKenna gets the last line in an effort to recuperate the image of happy/stable marriage and family. But the preceding 120 minutes have shown us otherwise.

 

[Robert Harris]

I saw the film at Film Forum (NYC) tonight, and my high estimation of it has ascended even further.

The films feels like Hitchcock's attempt to make a Douglas Sirk movie in his own style. He lets the interplay/bickering between Ben and Jo play out at length, with the payoff being in the Albert Hall sequence when McKenna arrives. We cannot hear what they are saying, so Jo may just be filling her husband in, but there is also the hint that there is bickering going on as well, which enriches the scene.

The sound is better as well--I never realized Louis Bernard's dying words were supposed to be heard. And the carrying of Jo's singing up the stairs combined with Tomasini's editing is superb. I always felt a slight letdown after the Albert Hall sequence, but the dark, burnished interiors of the embassy, and the better sound, made the whole sequence work on a deeper level than it had before. The connection between the efforts of Jo McKenna and Lucy Drayton to save Hank resonate so beautifully now.

Godard wrote that TMWKTM was both the most improbable and the most realistic of Hitchcock's films, and he was right--improbable that the spy plot would unfold as it does, and realistic about a 1950's marriage where a woman makes/is required to make sacrifices for her marriage and her husband (is the compentence and abiity of Jo, a veiled compliment from Hitchcock to Alma, who gave up her career for his?).

But in the end, wives will not be silenced by their husbands, even though McKenna gets the last line in an effort to recuperate the image of happy/stable marriage and family. But the preceding 120 minutes have shown us otherwise.

Welcome to HTF, Brian,

One of the best concepts of the film I’ve read in aeons!

 

[Brian Dauth]

Welcome to HTF

Thank you, Robert.

One of the best concepts of the film I’ve read in aeons!

Thank you again. The idea has floated in my head for a while, but this restoration showed me that it made visual/aural sense as well. The embassy sequence is not an anti-climax to the Albert Hall sequence any more. The embassy is now another venue where Jo must use her voice to achieve her goal, and her husband is once more running around, trying to find the right door. (And I cannot deny that reading Uncle Jean-Luc helped stir my brain. He was as good a critic as he was a filmmaker--sometimes better).

 

[M90GM]

I neglected to mention that I feel this film is ripe for reappraisal.

Hi Mr Harris - do you have any influence at Warner Archive? I am surprised at the extent of early 1930's releases which take up a considerable proportion of the few releases each month. And the titles of the new films are certainly at best - ordinary....Spinout, Double Elvis are weak titles & Our Daughters ....Dance Fools ...these are relatively weak titles ....meanwhile the hundreds of "A" M-G-M titles remain locked away, and continue to age past the potential buyers in the market ....why dont they licence the titles they will never upgrade to BD to, say, KL who have a large release slate including many "lesser" titles (commercial BO/critical acclaim)......I wait each month and the few A titles come along only occasionally....the few that did receive a BD release in the year have been spectacular .....like King Solomon & Ivanhoe.....where is High Society? Ryan's Daughter? ......etc etc

 

[Robert Harris]

Hi Mr Harris - do you have any influence at Warner Archive? I am surprised at the extent of early 1930's releases which take up a considerable proportion of the few releases each month. And the titles of the new films are certainly at best - ordinary....Spinout, Double Elvis are weak titles & Our Daughters ....Dance Fools ...these are relatively weak titles ....meanwhile the hundreds of "A" M-G-M titles remain locked away, and continue to age past the potential buyers in the market ....why dont they licence the titles they will never upgrade to BD to, say, KL who have a large release slate including many "lesser" titles (commercial BO/critical acclaim)......I wait each month and the few A titles come along only occasionally....the few that did receive a BD release in the year have been spectacular .....like King Solomon & Ivanhoe.....where is High Society? Ryan's Daughter? ......etc etc

Influence? None.