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A psychotic socialite confronts a pro tennis star with a theory on how two complete strangers can get away with murder...a theory that he plans to implement.
A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people there in increasing numbers and with increasing viciousness.
Director:
Alfred Hitchcock
Stars:
Rod Taylor,
Tippi Hedren,
Suzanne Pleshette
Following the conviction of her German father for treason against the U.S., Alicia Huberman takes to drink and men. She is approached by a government agent (T.R. Devlin) who asks her to spy on a group of her father's Nazi friends operating out of Rio de Janeiro. A romance develops between Alicia and Devlin, but she starts to get too involved in her work. Written by
&view=simple&sort=alpha&ref_=tt_stry_pl">Col Needham <col@imdb.com>
In the original script Alicia was a prostitute. See more »
Goofs
When Bergman's character is slowly realizing that she is being poisoned, the liquid in her cup changes. She seems to drink it all, but in the next moment, the cup is full. See more »
Quotes
[first lines]
[Title card]:
Miami, Florida, Three-Twenty P.M., April the Twenty-Fourth, Nineteen Hundred and Forty-Six...
[reporters and photographers converse amongst themselves outside the courtroom]
Judge:
Is there any legal reason why sentence should not be pronounced?
District Attorney:
No, your honor.
John Huberman:
Yes, I have something to say. You can put me away, but you can't put away what's going to happen to you, and to this whole country next time. Next time we are going...
Defense Counsel:
[whispering]
I wouldn't say any more. We'll need that for the ...
See more »
Crazy Credits
Opening credits prologue: Miami, Florida, Three-Twenty P.M., April the Twenty-Fourth, Nineteen Hundred and Forty-Six... See more »
Carnaval, Op. 9, Scènes mignonnes sur quatre notes: 'Chopin'
(uncredited)
Written by Robert Schumann
Performed in the distance as Alicia enters Alex's house for the first time See more »
One of Hitchcock's most thrilling examinations of psychosexual ambiguity, with the Grant-Bergman relationship veering from an initial meet-cute to genuine (beautifully conveyed) mutual delight to sadistic manipulation - he makes a whore of her and forces the fact again and again into her face, seldom giving an inch until the very end, where his change of heart has a largely tacked on feeling. We first see him from behind, quietly, predatorily watching at one of her drunken parties; they go for a drive and we see his hand poised to grab the wheel even as he pretends to submit himself to her drunken control over the car - it sets the tone, for Grant never relents on his desire to possess her, and reacts all too like a spurned lover to events, belittling her love even as she continually reasserts it; the callousness with which he distances himself from her after learning of her assignment is breathtaking. The main plot can hardly match the complexity of the central relationship, even though it's an excellently constructed yarn, with the fine set pieces of the party and the ultimate escape, which is essentially a battle between Rains and Grant for possession of the weakened Bergman - a finale which emphasizes how she's always been a prisoner, of her father's myth, of the male system, of her own emotions.
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One of Hitchcock's most thrilling examinations of psychosexual ambiguity, with the Grant-Bergman relationship veering from an initial meet-cute to genuine (beautifully conveyed) mutual delight to sadistic manipulation - he makes a whore of her and forces the fact again and again into her face, seldom giving an inch until the very end, where his change of heart has a largely tacked on feeling. We first see him from behind, quietly, predatorily watching at one of her drunken parties; they go for a drive and we see his hand poised to grab the wheel even as he pretends to submit himself to her drunken control over the car - it sets the tone, for Grant never relents on his desire to possess her, and reacts all too like a spurned lover to events, belittling her love even as she continually reasserts it; the callousness with which he distances himself from her after learning of her assignment is breathtaking. The main plot can hardly match the complexity of the central relationship, even though it's an excellently constructed yarn, with the fine set pieces of the party and the ultimate escape, which is essentially a battle between Rains and Grant for possession of the weakened Bergman - a finale which emphasizes how she's always been a prisoner, of her father's myth, of the male system, of her own emotions.