The Man Who Knew Too Much (Illustrated), by Gilbert Keith Chesterton
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The Man Who Knew Too Much (Illustrated), by Gilbert Keith Chesterton
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The "Master of Suspense", Alfred Hitchcock, hits another bullseye with his 1956 production of "The Man Who Knew Too Much". Purists have been known to complain that they prefer Hitchcock's original 1934 version of the story to the lavish, widescreen, color version starring James Stewart and Doris Day, but if viewed side by side, both films stand on their own as classic Hitchcock. The 1956 "Man" unfolds like a beautiful book, methodically, deliberately, and compellingly. Stewart plays an American doctor and Day is his wife, a retired singer. They are vacationing with their young son, Hank, in Morocco, when they become embroiled in an International incident involving a planned assasination. Their son is kidnapped and taken to London. Day and Stewart follow, where they attempt to get some answers and to locate their son, on their own, without the help offered by Scotland Yard. The film reaches it's exciting climax during a concert at Albert Hall in which Day suddenly realizes what is about to occur. Without giving away some of the intricate plot twists and turns, "The Man Who Knew Too Much" is like a breathtaking ride on a state of the art rollercoaster. You cannot help but get caught up in the plight of Stewart and Day. James Stewart and Doris Day seem like a real married couple, so easy and comfortable is their onscreen chemistry. They banter and interact convincingly but there is also a strong indication that there may be some tensions lurking beneath the outer veneer. Both actors play their roles with expertise and Day, in particular, shows range and versatility in her performance, being especially memorable in the justly celebrated Albert Hall scene and in an earlier scene when Stewart informs her that their son has been kidnapped. The growing realization as to what he is telling her is reflected in Day's facial reactions. Hitchcock has once again assembled a first-rate cast of supporting players including his long time musical collaborator, Bernard Herrmann, who appears onscreen for the first time, playing himself while conducting an original piece of music during the Albert Hall sequence. The team of Livingston and Evans composed a song for Day to sing to her son as part of the plot. The tune, "Whatever Will Be, Will Be"(Que Sera, Sera), became a megahit, selling millions of records, winning an Oscar as best song and becoming one of Day's signature tunes. It plays an intricate role in the storyline, being introduced naturally and being reprised as part of the picture's denouement. The queues that formed at box-offices all over the world when "The Man Who Knew Too Much" opened in the summer of 1956, were a tribute to the talents of Hitchcock, Day, and Stewart, and to the public's continuing fascination with quality entertainment. To this day, the film remains one of Hitchcock's best films from his 1950's period. A movie that is well worth viewing.
The Man Who Knew Too Much (Illustrated), by Gilbert Keith Chesterton- Amazon Sales Rank: #3103845 in eBooks
- Published on: 2015-09-16
- Released on: 2015-09-16
- Format: Kindle eBook
About the Author Widely known as the "Prince of Paradox," G. K. Chesterton was one of the most influential English writers and thinkers of the 20th century. Chesterton's prodigious talents embraced a wide range of subjects, from philosophy and religion to detective fiction and fantasy.
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297 of 300 people found the following review helpful. "I know too much.... and all the wrong things." By EA Solinas G.K. Chesterton was happy to do some spoofery of the deductive detective genre -- his detectives seemed to depend more on the knowledge of human nature. One good example is Horne Fisher, the star character who solves bizarre little mysteries because he "knows too much... and all the wrong things."The first story opens with a reknowned book critic stumbling across a dead man with his head bashed on. Fortunately Fisher is fishing nearby, and is able to deduce who killed the poor man, when, and cleverly figures out the best (and most theatrical) way to get results.In each story, Horne deals with another strange mystery -- the framing of an Irish "prince" freedom fighter, the vanishing of a priceless coin, a man killed off in the Middle East, an eccentric rich man dies during an obsessive fishing trip, another vanishes during an ice skate, a bizarre dispute over an estate, and most shockingly, a statue crushing his own uncle...Chesterton was a good mystery writer. He could spin up bizarre little crimes (murder, theft, treachery) for a variety of colourful reasons, from the political to purely psychological. "The Man Who Knew Too Much" is a good example of that, and it shows Chesterton veering into more politically-charged territory than in his other mysteries, with the Irish-English conflict, spies and impending war.But these mysteries also have Chesterton the philosopher/theologian/thinker. He writes in colourful, poetic prose ("as if the world were steeped in wine rather than blood"), and has brief moments where Horn muses on human nature."Patriotism is not the first virtue. Patriotism rots into Prussianism when you pretend it is the first virtue," he remarks at one point, as an example. Through him, Chesterton gives us brief little insights into what he knows too much of -- a worldview remarkably simple, but very insightful."The Man Who Knew Too Much" is an odd kind of detective -- instead of the quirky detectives or deep thinkers, Horn is rather melancholy and plaintive, almost tormented by his own knowledge. This comes to a peak in the bittersweet final story, where Horne finds himself in a wretched situation, with shocking results."The Man Who Knew Too Much" is a solid collection of detective stories, but underlying the mysteries are Chesterton's deeper looks at human nature. Excellent reading.
99 of 101 people found the following review helpful. Cynical patriot who knows too much...but isn't telling By R. S. Corzine If you think you're a cynic about politics (or more precisely, about politicians) you've got nothing on GK Chesterton. This is another of his episodic novels in which a series of short stories that stand alone end up making up one single story with the last one bringing all of the threads together and raising them to a climax and resolution.The eponymous man who knew too much is Horne Fisher. And what he knows is all of the key people of the ruling class in England, the tawdry secrets of their personal lives, and the odd and indirect ways that these deform the laws, policies, and administration of justice in the realm. Hypocrisy and gentlemanly corruption are the air they breathe. He knows that most of what you read in the papers is nonsense. In his own words, he knows "everything that isn't worth knowing."In these eight stories of mystery and crime, Fisher's peculiar knowledge allows him to discover who committed each crime and why. Often enough the criminal must go unpunished lest worse things follow. Sometimes the victim is in fact more guilty than the criminal. The other main character is an honest but naive reporter, Harold March, whom Fisher meets and befriends in the first story. March plays Dr. Watson to Fisher's Sherlock Holmes in all eight stories. Until the redemptive climax, Fisher is a sort of tragic figure, upright, honest and unwilling to participate in the wrongdoing, but also unwilling, seemingly unable, to expose his family and their plutocratic circle.I doubt whether England was quite as rotten in 1922 as Chesterton believed. I'm quite sure that America in 2010 is not. But then perhaps that just makes me the man who knows too little.One way or the other, this is a delightful book and highly recommended.
70 of 75 people found the following review helpful. Similar to the Father Brown books By Jesse Rouse The Man Who Knew Too Much is a collection of eight short mystery stories which reminded me greatly of Chesterton's Father Brown stories, except these were not quite as good. I dislike mystery stories where the main character solves the mystery with the aid of a clue that the reader did not have access too. That was one of the reasons why I really like Chesterton's Father Brown mysteries, because if you pay close enough attention and think enough, you can come to the correct conclusion yourself before the answer is announced. Unfortunately, Chesterton does not write all of these stories in that way (though a few of the eight are), and it makes them not as much fun to read, though they are still very good.In terms of content, Chesterton does a fabulous job of bring up moral issues (for example, do we tell the public the truth about murder if it will be harmful to the public?) in these mysteries, and they really make you think. As always, Chesterton has also intersperced the stories with witty yet deep phrases which also make you think, and if you are an underliner you will find many things to underline.In conclusion, this is a good book, but if I were you, I'd read his Father Brown stories before I read these.Overall grade: B+
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