The Man Who Knew Too Much (1934)

The Man Who Knew Too Much 1934

Let that be a lesson to you. Never have any children. On a family holiday in Saint Moritz, Switzerland, Bob Lawrence (Leslie Banks) and his wife, Jill (Edna Best), become friendly with Louis Bernard (Pierre Fresnay) who is staying in their hotel. He is assassinated in their presence, but as he is dying manages to passes along a secret to Jill, asking her to contact the British consulate. To keep the pair silent, a band of foreign assassins kidnaps their teenage daughter Betty (Nova Pilbeam). Offered no help by the police, Bob and Jill hunt for their daughter back in London as they try to understand the information that they have before tracing the kidnappers and once again encountering the cunning Abbott (Peter Lorre) in very compromising circumstances while an assassination is due to take place during a concert at the Albert HallYou must learn to control your fatherly feelings. Providing a template for much of director Alfred Hitchcock’s subsequent career, this is written by Charles Bennett and D. B. Wyndham Lewis with a scenario by Edwin Greenwood and A.R. Rawlinson (and additional dialogue by Emlyn Williams) and it’s a gripping and blackly comic suspenser with a simple lesson – if a gun goes off in the first act it’s bound to go off again in the third, in order to bring things to a pleasingly grim conclusion in an extended siege and shootout. Hitchcock’s experience in German cinema is telling in terms of editing and design (for which Alfred Junge is responsible) and it moves quickly and effectively, suiting his talents far better than the slow-moving melodramas he made after the coming of sound, with nary a moment to contemplate some of the zingers which particularly work for Lorre’s sly delivery. Above all it’s a fascinating portrait of subversives in the seedier parts of London, influenced by the 1911 Sidney Street siege, a Conradian subject of anarchy to which Hitchcock would soon return. You’ll be agog at the gathering at the Tabernacle of the Sun and amused by Banks and his mate Clive (Hugh Wakefield) singing out instructions to each other to the tune of a hymn. Hitchcock’s future assistant and producer Joan Harrison has a small uncredited role as a secretary but it’s Best you’ll remember as the brilliant sharpshooting mother – you don’t want to mess with the woman. Don’t breathe a word!

The Patsy (1964)

The Patsy.jpg

Uh, the people in the theater know I ain’t gonna die. Here, it’s a movie stage.  Eccentric hotel bellhop Stanley Belt (Jerry Lewis) is recruited unexpectedly by the comedy team of a top entertainer who has died in a plane crash and whom they are seeking to replace with a nobody. Stanley struggles to become a song-and-dance man as the team including producer Caryl (Everett Sloane), writer Chic (Phil Harris) and assistant Ellen (Ina Balin) – grooms him to become a star. But as the date of a high-stakes appearance on The Ed Sullivan Show grows near, they begin to fear that the only astonishing thing about Stanley is his utter lack of talent. They drop him but Ellen supports him, he becomes a hit and now they want him back … They simply want to make you a star. An unofficial sequel to The Bellboy, this is one where you either love Lewis’s autistic-modernist shtick, or you plain don’t. However the raft of appearances by celebrities and personalities of the big and small screen is jaw-dropping and Lewis’ voice training scene is priceless. You might find broad similarities to The Girl Can’t Help It, which had starred Jayne Mansfield in a work by Lewis’ mentor Frank Tashlin but this takes the concept of a rock ‘n’ roll death and inscribes the dread fear of the comedian – being rewritten by his own team.  There are clever Chaplinesque situations and witty insights into backstage sycophants and their motivations. At its heart this is a serious film about the pressure to be funny.  Featuring the final screen performances of both Peter Lorre and Everett Sloane as part of his manipulative entourage. Directed by Lewis, who co-wrote with Bill Richmond. This is a movie