Yet tension, as in any Hitchcock film, still predominates, but here it's largely romantic tension that fuels the story. One could characterize 'To Catch a Thief' as "Hitchcock Lite," but it's obvious just as much care went into the production of this easygoing romp as the director's more serious and suspenseful exercises. We also have the "wrong man" theme that was a favorite of Hitchcock's, the requisite icy blonde, and a playful air permeating the proceedings. Hitchcock, in typically adroit fashion, manipulates all the film's disparate elements into a cohesive whole, juggling romance, sex, humor, thrills, intrigue, and social commentary. That thief, of course, is Robie, who, as her mother astutely points out, just might be the catch of her life. Sure, we root for Grant to catch his thief and clear his name, but the story really revolves around Francie trying to catch a thief of her own. Though on its surface, 'To Catch a Thief' might appear to be a mystery-thriller, in actuality it's more of a romantic chess game.
TO CATCH A THIEF BLACKFACE CRACK
As the mating dance intensifies, each tries to crack the other's impenetrable veneer and find the true person lurking beneath it. Robie hopes to lure the burglar to Jessie and Francie, but soon finds himself in a game of cat and mouse with the ravishing Francie, who aggressively pursues him. Just like the Titanic's Molly Brown, the Stevens are nouveau riche, and the no-nonsense Jessie especially is still rough around the edges.
Topping the list are Americans Jessie Stevens (Jessie Royce Landis) and her daughter Francie (Kelly), a cool blonde with a passionate soul and thirst for adventure. Hughson (John Williams), who divulges the identities of the wealthiest tourists on the Riviera - prime targets for the greedy thief. To evade the net, Robie knows he must track down the real thief himself and enlists the aid of insurance agent H.H. The long retired Robie, once known as The Cat, proclaims his innocence, but the French police remain unconvinced and mount a large-scale manhunt in the hope of capturing him. When the Riviera elite fall victim to a wave of jewel heists, all signs point toward ex-con John Robie (Grant), a hero of the French Resistance Army in World War II and former gem swiper extraordinaire, as the stealthy culprit. Duplicitous by nature, we prowl the earth like cat burglars, stealing what happiness we can whatever way we can, and hope we never get caught. Yet beneath all the lavish trimmings - sparkling diamonds, designer gowns, picturesque villas, dramatic vistas, and impeccable physical specimens - lies a surprisingly cynical tale that depicts all humans, on some level, as frauds. Just drinking in all the sights is an unparalleled joy, especially in the splendor of high definition.
TO CATCH A THIEF BLACKFACE MOVIE
Never before had a Hollywood movie showcased a European locale with such authenticity, and by thrusting us into the rarefied world of the ultra-rich, Hitchcock succeeds in presenting the ultimate escapist fantasy. Shot in glorious Technicolor and VistaVision, 'To Catch a Thief' is the apex of style and personification of cinematic chic. As light and airy as a soufflé, Hitchcock's frothy confection breezes merrily along, but its smart dialogue and delicious sexual tension between Kelly and her debonair co-star, Cary Grant, can't completely compensate for a slight story that sometimes sputters and ends up more travelogue than thriller.
TO CATCH A THIEF BLACKFACE SKIN
Yet beauty, oftentimes, is only skin deep, and unfortunately there are plenty of moments when that cliché suits 'To Catch a Thief' to a T. Bursting with such eye-popping elements as French Riviera locales, ultra-chic Edith Head couture, and, of course, the stunningly svelte future princess of Monaco, Grace Kelly herself, this slick mixture of mystery and romance oozes glamour at every turn. 'To Catch a Thief' just might be the most beautiful film Alfred Hitchcock ever made.
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