El hombre que sabía demasiado

Título original: The Man Who Knew Too Much

1956
A
2h

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Doris Day and James Stewart in El hombre que sabía demasiado (1956)

Reproducir trailer2:17

3 vídeos

99+ imágenes

Conspiracy Thriller Political Thriller Spy Drama Thriller

Un médico estadounidense y su esposa, una antigua estrella de la canción, son testigos de un asesinato durante sus vacaciones en Marruecos, y se ven envueltos en una retorcida trama de intri... Leer todoUn médico estadounidense y su esposa, una antigua estrella de la canción, son testigos de un asesinato durante sus vacaciones en Marruecos, y se ven envueltos en una retorcida trama de intriga internacional cuando su hijo es secuestrado.Un médico estadounidense y su esposa, una antigua estrella de la canción, son testigos de un asesinato durante sus vacaciones en Marruecos, y se ven envueltos en una retorcida trama de intriga internacional cuando su hijo es secuestrado.

Ver la información de la producción en IMDbPro

PUNTUACIÓN EN IMDb

7,4/10

72 mil

TU PUNTUACIÓN

POPULARIDAD

4763

2152

Ver la información de la producción en IMDbPro

Ganó 1 premio Óscar
- 3 premios y 4 nominaciones en total

Curiosidades
Throughout 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!"

Pifias
When 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.

Citas
[last lines]
Dr. Ben McKenna: Sorry we were gone so long, but we had to pick up Hank!

Créditos adicionales
Opening credits prologue: A single crash of Cymbals and how it rocked the lives of an American family.

Versiones alternativas
The 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.

Conexiones
Edited into Histoire(s) du cinéma: Le contrôle de l'univers (1999)

Banda sonora
Storm 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

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Comentarios

Reseña destacada

Perfect.

All the trademark Hitchcock elements are in place yet again, for a wonderful example of crowd-pleasing from the man who knew better than anyone just how to work an audience. James Stewart, everyone's perfect everyman returns to familiar ground, with the perfect wife (Doris Day, perfect casting), and perfect family. Into this chocolate box world is thrown some dangerous information, and a downward spiral of kidnap and murder.

As usual, there are the elaborately staged set-pieces, and the intimate psychoanalysis that you would expect. Here, the assassination sequence in the Royal Albert Hall provides the former - a beautifully choreographed blend of music and images building to the pivotal crash of cymbals, and the scenes in Morocco the latter, as our couple become obliviously embroiled in international espionage. It is hard to find fault with any of Hitchcock's contrivances (using the Oscar-winning 'Whatever Will Be' as a plot device to get Doris singing is almost too much, but forgivable), and the the whole cast are superb, giving incredibly naturalistic performances - see the scene in the Moroccan restaurant, which almost seems ad-libbed.

One of Hitchcock's best.