a film that tends to get buried under prejudice and preconception  it a remake. doris day is in it. she sings.  hitchcock second crack at the man who knew too much is his most under rated film and and arguably a fully fledged masterpiece in its own right. this is and in more ways than one and doris day film. not only does she give the finest performance of her career and more than holding her own against james stewart and but the whole film is subtly structured around her character rather than his. this is and after all and a film in which music is both motif and plot device. what better casting than the most popular singer of her generation. consider represent day jo mckenna has given up her career on the stage in order to settle down with her husband and raise their son. this seems to be a mutual decision and and she doesn not appear to be unhappy. but look at the way stewart teases her in the horse drawn carriage over her concerns about louis bernard and implying that she is jealous that bernard wasn not asking her any questions about her career. this is clearly a recurrent joke between them  she responds with a har de har har that denotes the familiarity of this gag and suggesting that she has a certain latent resentment about her confinement and and that they both realise it. after their son has been kidnapped and stewart insists on doping her before giving her the news. this is a cruel scene and brilliantly played by both actors and which illustrates the power imbalance in their marriage  he is seeking to control and subdue her reactions and in essence using his professional knowledge to suppress her voice in the marriage just as his medical career has suppressed her singing career. the potency of that voice is demonstrated in the ambrose chapel sequence and when she has to reign in its highly trained clarity and volume to blend in with the congregation of female drudges  they almost act as a warning of what will become of her if she continues to suppress her talent. at the albert hall and it is her need to cry out and to exercise those impressive lungs and that saves a man life and and in the embassy finale and it is her talent and reputation that allows them to locate their son. by contrast and all of stewart masculine activity is counterproductive  his visit to the taxidermist is a dead end and he gets left behind at the church whilst everyone else moves on to the albert hall and and his efforts there only succeed in getting the assassin killed and thus depriving the police of potentially useful information. it is only when his action is joined to his wife voice and in the rescue of hank from the embassy and that he actually succeeds in doing something useful. far from being forced into the film to give day an opportunity to sing and que sera sera acts as the first musical device in the film and foreshadowing the nightmare that is about to engulf the mckennas while the future not ours to see indeed. it also neatly prepares the way for the finale and in which the close bond mother and son share through music will allow doris to save the day. the most famous sequence in the film makes music the central feature  the build up to the assassination attempt in the albert hall. this lengthy wordless sequence may be the single most extraordinary thing hitchcock committed to film and the ultimate expression of his belief that films should be stories told visually. we see people conduct conversations in this sequence and but we never hear a word they say. we do not need to  the images say everything. it is also his most exquisite suspense sequence and with the pieces moving slowly into place as the music builds. the editing is incredibly tight and matched to the music perfectly. there isn not a frame out of place  anything that doesn not relate directly to the assassination is giving the viewer a sense of the environment and the geography in which all this is playing out. it builds slowly and but by the end the suspense is nearly unbearable. when jo screams and it isn not just a relief for her and but for the audience. the ambrose chapel sequence is witty and and particularly effective for anyone who has had to sit through a service at a particularly stick in the mud nonconformist church. the embassy sequence seems a little flat after the albert hall one that preceded it on first viewing and but second time around actually seems more effective and with the final walk at gunpoint really benefiting from the gorgeous use of day singing in the background and reminiscent of the music as ambient noise in rear window. the score as a whole is subtle and allowing the music from on screen sources to be foregrounded effectively. bernard miles is a low key villain and a little banal and but with a dry wit. he outshone by brenda de banzie as his wife and who walks a fine line between sinister and sympathetic. just look at the way she smokes a cigarette whilst her husband preps the assassin  her stance is pure gangster moll and belying the middle england exterior and but she clearly has a soft side and and possibly maternal feelings towards hank. stewart is excellent and although if hitchcock really did always cast him as everyman and as the director daughter seems to think and then it confirms that hitchcock had a cynical view of his audience. stewart played a hypocritical intellectual who espoused fascist ideology in rope and a voyeur who mistreated his girlfriend in rear window and an obsessive necrophiliac in vertigo. day is nothing short of phenomenal. just look at her reaction to the news that her son has been kidnapped  she never overdoes anything and but neither does she sell it short. this is one of hitchcock most emotionally effective films. he never lets us forget what the stakes are for the mckennas while they feel the most fully human of all his central characters. 
a film that tends to get buried under prejudice and preconception  it a remake. doris day is in it. she sings.  hitchcock second crack at the man who knew too much is his most under rated film and and arguably a fully fledged masterpiece in its own right. this is and in more ways than one and doris day film. not only does she give the finest performance of her career and more than holding her own against james stewart and but the whole film is subtly structured around her character rather than his. this is and after all and a film in which music is both motif and plot device. what better casting than the most popular singer of her generation. consider represent day jo mckenna has given up her career on the stage in order to settle down with her husband and raise their son. this seems to be a mutual decision and and she doesn not appear to be unhappy. but look at the way stewart teases her in the horse drawn carriage over her concerns about louis bernard and implying that she is jealous that bernard wasn not asking her any questions about her career. this is clearly a recurrent joke between them  she responds with a har de har har that denotes the familiarity of this gag and suggesting that she has a certain latent resentment about her confinement and and that they both realise it. after their son has been kidnapped and stewart insists on doping her before giving her the news. this is a cruel scene and brilliantly played by both actors and which illustrates the power imbalance in their marriage  he is seeking to control and subdue her reactions and in essence using his professional knowledge to suppress her voice in the marriage just as his medical career has suppressed her singing career. the potency of that voice is demonstrated in the ambrose chapel sequence and when she has to reign in its highly trained clarity and volume to blend in with the congregation of female drudges  they almost act as a warning of what will become of her if she continues to suppress her talent. at the albert hall and it is her need to cry out and to exercise those impressive lungs and that saves a man life and and in the embassy finale and it is her talent and reputation that allows them to locate their son. by contrast and all of stewart masculine activity is counterproductive  his visit to the taxidermist is a dead end and he gets left behind at the church whilst everyone else moves on to the albert hall and and his efforts there only succeed in getting the assassin killed and thus depriving the police of potentially useful information. it is only when his action is joined to his wife voice and in the rescue of hank from the embassy and that he actually succeeds in doing something useful. far from being forced into the film to give day an opportunity to sing and que sera sera acts as the first musical device in the film and foreshadowing the nightmare that is about to engulf the mckennas while the future not ours to see indeed. it also neatly prepares the way for the finale and in which the close bond mother and son share through music will allow doris to save the day. the most famous sequence in the film makes music the central feature  the build up to the assassination attempt in the albert hall. this lengthy wordless sequence may be the single most extraordinary thing hitchcock committed to film and the ultimate expression of his belief that films should be stories told visually. we see people conduct conversations in this sequence and but we never hear a word they say. we do not need to  the images say everything. it is also his most exquisite suspense sequence and with the pieces moving slowly into place as the music builds. the editing is incredibly tight and matched to the music perfectly. there isn not a frame out of place  anything that doesn not relate directly to the assassination is giving the viewer a sense of the environment and the geography in which all this is playing out. it builds slowly and but by the end the suspense is nearly unbearable. when jo screams and it isn not just a relief for her and but for the audience. the ambrose chapel sequence is witty and and particularly effective for anyone who has had to sit through a service at a particularly stick in the mud nonconformist church. the embassy sequence seems a little flat after the albert hall one that preceded it on first viewing and but second time around actually seems more effective and with the final walk at gunpoint really benefiting from the gorgeous use of day singing in the background and reminiscent of the music as ambient noise in rear window. the score as a whole is subtle and allowing the music from on screen sources to be foregrounded effectively. bernard miles is a low key villain and a little banal and but with a dry wit. he outshone by brenda de banzie as his wife and who walks a fine line between sinister and sympathetic. just look at the way she smokes a cigarette whilst her husband preps the assassin  her stance is pure gangster moll and belying the middle england exterior and but she clearly has a soft side and and possibly maternal feelings towards hank. stewart is excellent and although if hitchcock really did always cast him as everyman and as the director daughter seems to think and then it confirms that hitchcock had a cynical view of his audience. stewart played a hypocritical intellectual who espoused fascist ideology in rope and a voyeur who mistreated his girlfriend in rear window and an obsessive necrophiliac in vertigo. day is nothing short of phenomenal. just look at her reaction to the news that her son has been kidnapped  she never overdoes anything and but neither does she sell it short. this is one of hitchcock most emotionally effective films. he never lets us forget what the stakes are for the mckennas while they feel the most fully human of all his central characters. ---------------------------------Answer Question Below----------------------------------

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