23: The Man Who Knew Too Much (1956)

Hitchcock remade his own film THE MAN WHO KNEW TOO MUCH mostly out of a studio obligation, and it makes for an interesting distinction between Hitch’s British years and his American years. As he himself would describe it to Francois Truffaut, “The first version was made by a talented amateur and the second was made by a professional.” The professionalism is apparent throughout, every suspenseful sequence is handled with Hitchcock’s unparalleled skill, but it often feels coldly executed. There are a few moments that seem to excite Hitch’s imagination, but generally it feels as though the film’s purpose is to exert the filmmakers progress, both in expertise and resources. Aside from a strong visual palette (making full use of the Technicolor that wasn’t available in 1934), the most winning element of this film is the back and forth between stars Jimmy Stewart and Doris Day. Their dynamic proves endearing and enduring, providing a basis for countless comedic mysteries to come. For example, the Adam Sandler/Jennifer Aniston vehicle MURDER MYSTERY, which is my favorite of Sandler’s Netflix era thanks to the chemistry of the two leads in a diverting and farcical story that is pointedly Hitchcockian.