Film Review: To Catch a Thief (1955)
British director Alfred Hitchcock is often synonymous with Hollywood's golden age. His unparalleled ability to leverage the technical and financial resources of the American film industry set him apart from his peers, and this became evident in the 1950s - a period that marked the pinnacle of Hitchcock's career. Among his most celebrated works during this era, 1955 film To Catch a Thief stands out as a glamorous and entertaining romantic thriller whose legendary status owes much to what transpired behind the scenes.
The film is an adaptation of David Dodge's 1952 novel of the same name, with its plot unfolding on the French Riviera. Cary Grant portrays John "the Cat" Robie, a US expatriate and former top jewel thief. Thanks to his service in the French Resistance during Second World War, he was granted parole for his past crimes, allowing him to live a peaceful and comfortable life in the villa. However, his tranquillity is shattered when someone begins replicating his modus operandi, targeting wealthy women and pilfering their jewellery. Not only does Robie become a prime suspect, but he also brings unwanted attention to Bertani (played by Charles Vanel), his former partner in crime and the restaurant owner, whose employees are former criminals whose parole hangs in the balance. With the help of British insurance agent H.H. Hughson (played by Sir John Williams), Robie devises an audacious plan to catch the real thief red-handed. To achieve this, he compiles a list of potential victims and sets his sights on Jessie Stevens (played by Jessie Royce Landis), a middle-aged American heiress. Adopting the alias "Edward Burns," he ingratiates himself with Jessie's beautiful daughter Frances (played by Grace Kelly), who appears drawn to him.
To Catch a Thief is one of Hitchcock’s films less likely to be studied in film schools or analysed to death in search for some deep truths or hidden meanings; however, it shows Hitchcock at the top of his game and confirming his status as one of the very few film directors whose fame at the time matched those of Hollywood stars. Here he provides to the audience exactly what they needed the most – escapist fun in a delectable mix of crime mystery, action thriller, romance, and light comedy.
To Catch a Thief benefited greatly from being set on the French Riviera in the 1950s, a time when such a location was still considered exclusive for the rich and famous and exotic for the ordinary people. Scenes made at Paramount Studios are well matched with excellent use of picturesque locations, including the iconic Carlton Cannes Hotel, which is brought to life by lush colour cinematography by Robert Burks and newly invented VistaVision screen format. These images, accompanied by Lyn Murray's likeable music score, transport viewers to a world of glamour and sophistication.
While the general mystery in the plot isn't anything to write home about, it serves as an adequate frame for Hitchcock to stage a couple of interesting scenes, including the beginning that provides some of Hitchcockian suspense. The film also features semi-comical car chases, a spectacular 18th-century-style masked ball, and perhaps the best form of fan service comes in the scenes featuring Cary Grant in bathing trunks. Grant, who looked quite fit despite being close to 60 at the time of production, is surrounded by two beauties in bathing suits – Grace Kelly and Brigitte Auber, French actress who plays Danielle, daughter of Robie's former associate and Frances' romantic rival.
However, the most erotic scene happens later in the film, and although both actors have more clothes on this occasion, the sexual tension is undeniable thanks to the excellent chemistry between dependably suave Grant and surprisingly sultry Kelly. Hitchcock also tries to circumvent the limits of the MPAA Production Code by some not-so-subtle double entendres in the form of fireworks.
To Catch a Thief, arguably the most crowd-pleasing of all Hitchcock’s films, was, by most accounts, a very pleasant experience for everyone involved in production. Grace Kelly, at the pause of the shooting, had met Prince Rainier III of Monaco and that encounter would later make her into real-life royalty, further cementing the legendary status of the film. On the other hand, the scene in which Grace Kelly's character recklessly drives on narrow roads would look rather unpleasant and disturbingly prophetic to all those aware of how this fairy tale actually ended.
To Catch a Thief stands as a testament to Hitchcock's versatility as a filmmaker. While it may not reach the heights of suspense found in his top classics, it offers a delightful exploration of romance and intrigue within a visually stunning framework. The film's legacy lies not only in its entertainment value but also in its ability to capture the spirit of an era marked by glamour and sophistication.
RATING: 7/10 (+++)
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