|
By
NICK ZEGARAC
Derived from the axiom, 'set
a thief, to catch a thief', Alfred Hitchcock's
1955 masterwork represents the director at his
most lavish, playful and delightfully adroit -- an
effervescent compendium of the working
relationships that Hitchcock had cultivated some
years earlier and had transformed into a
well-oiled machinery capable of producing such
slick entertainment with incomparable cinematic
flare.
That film scholars and critics have since unfairly
judged To Catch a Thief as mere 'featherweight
fun' is indeed a shame, since the film is very
much a great thrill ride and jewel heist caper,
wrapped inside Hitch's inimitable blend of A-list
star talent married to stellar behind the scenes
crew -- all pistons firing on one marvelous burst
of stylish creativity.
The film stars the charming Cary Grant as retired
jewel thief, John Robie -- nicknamed 'the cat'
because of his prowess on the rooftops. A recent
string of high profile heists has the local police
suspecting the worst from Robie, and he knows it
-- especially after five officers come to his
fashionable mountain top retreat to apprehend him.
Hiding out at the Cannes beach club, Robie relies
on his old smuggling buddy, Bertani (Charles
Vanel) to put him in touch with insurance agent,
H.H. Huston (John Williams). The plan; for Robie
to learn who has the biggest jewels, ergo, who
might be next to be burgled.
The plan goes slightly awry however, as Robie
meets, and gradually falls for rich and headstrong
American playgirl, Frances Stevens (the luminous
Grace Kelly). Frances mother, Jessie (Jessie Royce
Landis) is a foxy, good-natured gal with more
karats than class. Robie rightfully pegs her as
the new cat's next victim. But Frances has already
pegged John as the burglar. Will lust or greed win
out?
Hitchcock delivers a flashy, fun and scintillating
romantic yarn that is as marvelous as any of his
more praised thrillers. Evidently, Hitch' -- who
detested working on location -- went against his
own edict for at least half of the production
shoot. The south of France is as captivating as
the sparkled gems that Frances misperceives are
driving John closer to her.
The cast performs with inspired enthusiasm and
Hitchcock's direction -- rarely to be questioned
-- exhibits exemplary deftness at providing a
compelling tapestry of superb craftsmanship. In
the end, To Catch a Thief may be lighter in tone
and subject matter than, say Hitchcock's Vertigo
(1958), but that effervescence should not be
confused with 'fluff' because To Catch a Thief
represents the most rarest vintage; a Hollywood
classic that continues to delight and entertain
without dating.
This is Paramount Home Video's second outing on
DVD. The first was an abysmal misfire -- riddled
in digital and age-related artifacts, poorly
balanced colors and a patina of digital grit that
belied VistaVision's original claim in 'motion
picture hi-fidelity.'
I am pleased to report that Paramount's new
'Special Collector's Edition' is a revelation in
restoration and preservation on DVD. Colors are
rich, bold and mostly eye-popping and fully
saturated. In every aspect, the visual quality on
this disc is virtually superior.
Flesh tones on the original release --
particularly Cary Grant's (who has a tan) were
ruddy and dark and often sported a very orange
tint. On Paramount's new Special Collector's
Edition, flesh tones are bang on. Grant's tan is
now a healthy light brown -- not half burnt or
sun-baked. Grace Kelly's stunning good looks
positively radiate off the screen.
A revelation for this reviewer came during the
sequence where Robie is attacked at night at a
villa, as part of a set up to apprehend the real
cat burglar. On the original disc -- and for as
long as this reviewer can recall -- this sequence
registered in a very deep royal blue with rather
faded flesh tones. The sequence, as featured on
the restored SCE exhibits the same vibrant emerald
green patina that was trademarked for night scenes
during the film's opening sequences and also used
during its finale.
The audio is the same 2.0 stereo remix included on
the original disc, which was quite adequate. The
one added extra that is not a carry over from the
original disc, is a fun and loose audio commentary
from Peter Bogdanovich. Purists will pooh-pooh the
fact that Bogdanovich meanders away from directly
discussing the film on several occasions, but on
the whole, this is a great reflection piece from a
master storyteller and film historian. The four
featurettes included on this disc, on writing,
casting, making of and personal reflection on
Hitchcock are imports from the aforementioned old
release. Also included are a short featurette on
Edith Head and the film's original theatrical
trailer. Definitely worth the repurchase!
Enthusiastically recommended! |
