Ein amerikanischer Arzt und seine Frau nehmen die Dinge selbst in die Hand, nachdem Attentäter die Hinrichtung eines ausländischen Premierministers planen, der ihren Sohn entführt.Ein amerikanischer Arzt und seine Frau nehmen die Dinge selbst in die Hand, nachdem Attentäter die Hinrichtung eines ausländischen Premierministers planen, der ihren Sohn entführt.Ein amerikanischer Arzt und seine Frau nehmen die Dinge selbst in die Hand, nachdem Attentäter die Hinrichtung eines ausländischen Premierministers planen, der ihren Sohn entführt.
- 1 Oscar gewonnen
- 3 Gewinne & 4 Nominierungen insgesamt
Handlung
WUSSTEST DU SCHON:
- WissenswertesThroughout the filming, Doris Day became increasingly concerned that Sir Alfred Hitchcock paid more attention to camera set-ups, lighting, and technical matters than he did to her performance. Convinced that he was displeased with her work, she finally confronted him. His reply was, "My dear Miss Day, if you weren't giving me what I wanted, then I would have to direct you!"
- PatzerWhen Hank is being taken by his kidnappers from the chapel to the embassy, the group gets in a left-hand drive large 1953 Humber Mark IV Super Snipe on a Hollywood sound stage. The pretend driver enters on the right, but the supposed front seat passenger can be seen releasing the handbrake, and holding the steering wheel. The car's exhaust sound also does not match the Humber. In the second scene later, the same car enters the embassy rear gate, also on a Hollywood sound stage, and the car can be seen as having red seats. In the next cut, the car pulls up at the rear of the embassy, and Hank and the kidnappers exit. The car has now become a smaller and earlier 1951 Humber Mark IV Hawk, with tan seats, filmed on location in London, although both cars show the same registration number.
- Zitate
[last lines]
Dr. Ben McKenna: Sorry we were gone so long, but we had to pick up Hank!
- Crazy CreditsOpening credits prologue: A single crash of Cymbals and how it rocked the lives of an American family.
- Alternative VersionenThe original film opened with the Paramount logo followed by their patented wide-screen process, Vista Vision. In the 1980s, Universal reissued the film with their logo, and dropped the reference to Vista Vision. The Blu-Ray edition retains the Paramount/Vista Vision logos at the start, but carries the '80s Universal logo at the end.
- VerbindungenEdited into Geschichte(n) des Kinos: Le contrôle de l'univers (1999)
- SoundtracksStorm Cloud Cantata
(1934)
by Arthur Benjamin and D.B. Wyndham-Lewis
Performed by London Symphony Orchestra
Conducted by Bernard Herrmann
Orchestrated by Bernard Herrmann (uncredited)
Covent Garden Chorus and Barbara Howitt, soloist
Ausgewählte Rezension
Both versions of Hitchcock's "The Man Who Knew Too Much" have their strong points, and are well worth watching. This 1950's remake is carried mostly by its star power, with Jimmy Stewart and Doris Day being convincing and very sympathetic as the parents of the kidnapped child. It also has more lavish settings and better (not just because it is color) photography than the earlier version. On the other hand, it lacks the wittiness of the British version, and moves more slowly.
The remake spends much more time setting up the story than the original did, with the family spending a lot of time on their vacation in Morocco before the crisis occurs. It makes possible some colorful scenery and settings, and allows you to get to know the family a bit more, although the quicker pace in the original established more tension and kept your attention throughout. The Albert Hall sequence works well in both films, with this one having the added bonus of allowing the audience to see Bernard Herrmann, who wrote so many great scores for Hitchcock's films, conducting the orchestra.
Despite having essentially the same story, the two versions of "The Man Who Knew Too Much" have a much different feel. Which one you prefer is largely a matter of taste - while neither is usually considered among Hitchcock's very best, they are both good movies with a lot of strong points. Take a look at both if you have the chance.
The remake spends much more time setting up the story than the original did, with the family spending a lot of time on their vacation in Morocco before the crisis occurs. It makes possible some colorful scenery and settings, and allows you to get to know the family a bit more, although the quicker pace in the original established more tension and kept your attention throughout. The Albert Hall sequence works well in both films, with this one having the added bonus of allowing the audience to see Bernard Herrmann, who wrote so many great scores for Hitchcock's films, conducting the orchestra.
Despite having essentially the same story, the two versions of "The Man Who Knew Too Much" have a much different feel. Which one you prefer is largely a matter of taste - while neither is usually considered among Hitchcock's very best, they are both good movies with a lot of strong points. Take a look at both if you have the chance.
- Snow Leopard
- 22. Juli 2001
- Permalink
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Details
- Erscheinungsdatum
- Herkunftsland
- Offizieller Standort
- Sprachen
- Auch bekannt als
- Der Mann, der zu viel wusste
- Drehorte
- Djemaa el Fna, Marrakech, Marokko(Marrakech main square)
- Produktionsfirma
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 2.500.000 $ (geschätzt)
- Weltweiter Bruttoertrag
- 10.190 $
- Laufzeit2 Stunden
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1
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