It does happen, once in awhile, that a remake emerges as a far better film than the original, which is true of THE MAN WHO KNEW TOO MUCH, which not only changes many of the plot twists but also changes the setting to a more exotic one in Morocco.
The script is much more detailed and wittier than the original, giving charismatic roles to JAMES STEWART and DORIS DAY as the American husband and wife who learn about an assassination plot and then have to spend the rest of the story trying to rescue their son from the would be assassins.
Not surprisingly, Day does get a chance to have her way with a song and in this case it's a good one, Que Sera, Sera, which went on to become a huge recording hit for her. But the musical sequence that dominates the film and provides its most climactic moment is the Albert Hall sequence using "Stormcloud Cantata" (with Bernard Herrmann conducting) and the famous symbols that are about to clash, timed with the assassin's shot.
Photographed on location in gorgeous Technicolor, with a good score by Herrmann and an intelligent script by John Michael Hayes, THE MAN WHO KNEW TOO MUCH is superior entertainment from "the master of suspense".
Especially worth noting are the sinister performances by BRENDA de BANZIE and BERNARD MILES as the kidnappers and DANIEL GELIN as the man in the marketplace whose death puts the whole story into gear.
Trivia note: Hitchcock himself called his early version "the work of an amateur" and got his wish to do a remake at a time when he was doing his best work.
The script is much more detailed and wittier than the original, giving charismatic roles to JAMES STEWART and DORIS DAY as the American husband and wife who learn about an assassination plot and then have to spend the rest of the story trying to rescue their son from the would be assassins.
Not surprisingly, Day does get a chance to have her way with a song and in this case it's a good one, Que Sera, Sera, which went on to become a huge recording hit for her. But the musical sequence that dominates the film and provides its most climactic moment is the Albert Hall sequence using "Stormcloud Cantata" (with Bernard Herrmann conducting) and the famous symbols that are about to clash, timed with the assassin's shot.
Photographed on location in gorgeous Technicolor, with a good score by Herrmann and an intelligent script by John Michael Hayes, THE MAN WHO KNEW TOO MUCH is superior entertainment from "the master of suspense".
Especially worth noting are the sinister performances by BRENDA de BANZIE and BERNARD MILES as the kidnappers and DANIEL GELIN as the man in the marketplace whose death puts the whole story into gear.
Trivia note: Hitchcock himself called his early version "the work of an amateur" and got his wish to do a remake at a time when he was doing his best work.