To Catch A Thief-1955
Starring-Cary Grant, Grace Kelly
Reviewed July 24, 2016
Cary Grant starred in a resounding five Alfred Hitchcock films in his day and 1955’s To Catch A Thief is smack in the middle of Hitchcock’s prime period of masterful pictures. Grace Kelly (her third and final Hitchcock film) co-stars making this film a marquee treat as both actors were top notch in their heyday and had much chemistry in this film. While not my all time favorite of Hitchcock films, To Catch a Thief has mystery, a whodunit, and some of the most gorgeous cinematography of the French Riviera. In fact, the breathtaking surroundings are my favorite part of this film.
Grant plays John Robie, aka. “The Cat”, an infamous jewel thief who has now gone clean. He currently spends his days quietly atop the French Riviera growing grapes and flowers and keeping out of trouble. When a new jewel thief begins to strike wealthy tourists, Robie is immediately under suspicion by the police. He is forced to prove his innocence by catching the real thief in the act as the thief uses the same style to steal as Robie once did. In the midst of this drama, Robie meets the beautiful heiress Frances (Kelly) and her interfering mother Jessie Stevens (Jessie Royce Landis), leading to romance.
Despite the fact that Grant could be old enough to be Kelly’s father, we immediately accept Robie and Frances as the perfect couple- she sophisticated, stylish, and rich, he equally sophisticated and cool, with a bad boy edge. In this way, To Catch A Thief has a strong romantic element, and a glamorous and wealthy tone. After all, the subject matter at hand- jewels- equates to lavish set decorations, women dripping in expensive jewelry, and a posh resort among the gorgeous French waters.
The supporting characters are interesting too. A triangle of sorts emerges as Frances plays catty with a young girl, Danielle, eager for Robie’s affections. Danielle, much plainer looking than Frances, though no shrinking violet, holds her own in a match of wits with Frances as they bathe in the water one afternoon. Frances’s mother Jessie, is wonderful comic relief as she attempts to push Robie and Frances together- always searching for a handsome suitor for her daughter. Finally, insurance man H.H. Hughson also contributes to the comic relief as he begrudgingly provides Robie with a list of wealthy visitors with jewels. In their playfully awkward lunch- delicious quiche is the meal of the day- at Robie’s place, Robie proves how Hughson himself is a thief of sorts in order to accomplish what he needs to get from Hughson.
Despite all of the positive notes, there is something about To Catch A Thief that prevents it from being among my all-time favorite Hitchcock films. Perhaps it is because I never had a doubt as to Robie’s innocence and the caper- if dissected- is a bit silly. I get the sense that the audience is supposed to question all along whether Robie is truly reformed or playing a game and is really back to his dirty deeds, but I wasn’t fooled. This is a very small gripe and To Catch A Thief is a wonderful film.
The way the film is shot is almost like being in the French Riviera. Countless coastal shots of the skyline will amaze the viewer with breathtaking awe of how gorgeous the French country is and how romantic and wonderful it is. This is my favorite part of To Catch A Thief. In fact, the visuals of the film rival the story as the costumes created by costume designer and Hitchcock mainstay, Edith Head, are simply lovely. And who can forget the costume ball at the films near conclusion?
Though the story might be the weakest and lightest elements of the story, who cares? The visuals more than make up for any of that as To Catch A Thief will please loyal fans of Hitchcock’s vast catalog.