To Catch a Thief (1955)

[***3/4 stars/*****]

Francie: "Do you want a leg or a breast?"

Robie: "You make the choice."

John Robie (Cary Grant), a former master cat burglar enjoys a leisurely retired life in a splendid, airy French villa. 

But when a string of  jewel robberies occur at the French Riviera, Robie is the main suspect, forcing him to go on the run.  

Robie seeks help from his old (now restaurant-managing) gang, who are on parole for their World War II heroics as part of the French Resistance. He is met with hostility, as they are now prime suspects too. 

Robie escapes the police again, and schemes to catch the elusive burglar in the act. 

He arranges to meet H. H. Hughson (John Williams), an insurance agent who trusts Robie enough (and can't afford more robberies of insured jewels) to disclose the list of the wealthiest jewel-owning Riviera folk. 

American tourists, rich widow Jessie Stevens (Jessie Royce Landis) and daughter Frances (Grace Kelly) incidentally top the list. 

Engaging romance, screeching car chases, sunny French locales and throbbing rooftop chases ensue. 

Not Hitchcock's best, but utterly enjoyable
The cat analogy, superb French locales, trademark witty Hitchcock remarks, breathtaking locations, the uncanny Cary Grant-Grace Kelly chemistry, stirring, timely background score - To Catch a Thief  is a breezy suspense drama, low on thrills and surprises, compared to other superior Hitchcock suspense movies. 

The stretched climax threatens to derail the fun, the buildup to the final rooftop chase makes up for it, even if the gun-shooting part is a tad lame. 

Just when it seems to lag, there are enough twists and character development that keep To Catch a Thief engaging. 

Grant and Kelly sparkle like priceless jewels. 

Their jovial presence allowed me to largely ignore that To Catch a Thief  is robbed of the usual Hitchcock bounce.   

The graceful, elegantly beautiful Kelly was half of Grant's age during filming, nowhere do their flirtatious scenes seem sleazy or awkward. 

It's a pairing of a lifetime.  

The clever dialogue interplay, the implied sexuality, relationship dynamics that run smooth with the main plot - elements we sorely miss in modern crime thrillers. 

Take the final unexpected dialogue, "Mother will love it here," and Grant's startled expression to top it off. Superlative, fun cinema despite the lightened proceedings. 

To Catch a Thief  is not vintage Hitchcock, but a happy vacation-mode, hard-to-ignore sunshine of a drama, a lovely rush of springy energy and charm. 

Psycho (1960)

[****1/2 stars/*****]

Marion Crane and her boyfriend discuss the financial costs of getting married (during office lunch hour in a secret hotel room meeting) and find that they don't have enough. 

Crane returns to her employer's real estate office and is entrusted with $40,000 of the client's money. 

On impulse, she hits the road with the loot, exchanges her car for a used one, until rain causes her to stop for the night at Bates Motel. 

Here she meets the young, nervous yet pleasant motel owner, Norman Bates. 

Bates tells her of his mentally ill mother and is appalled on the suggestion of sending the mother to an institution. As they talk, our thief has made up her mind to return the loot. 

Thus relaxed and assured, the now 'righteous in the eyes of the audience' Marion Crane, decides to take a shower...  

Psycho is Alfred Hitchcock at the height of his film making powers. 

Shot effectively at a modest budget, this horror-suspense thriller stands the test of time for its chilling atmospherics, skilled storytelling and slow-burn dark poetic use of black and white. 

The film was a business risk for its unconventional story line, absence of any crowd-pulling star cast, and daring depiction of voyeurism and sexuality. 

Hitchcock’s genius lay in placing dark elements in scenes of daily life - toying with our minds and making it scarier and unforgettable. 

The house adjacent to the motel, the forbidding feelings it evokes just by its appearance, Hitchcock is one director who seemed damn sure of what precise effect each scene will have on the audience. 

Go watch the unusual six-minute long trailer featuring Hitchcock and you will find a magician at ease with his art.  

Bates Motel, a car disappearing into dark water, chilling background music, and the final sinister smile are stuff of cinema legend now.   

I have played Psycho once for a family member, just to relish the person's reaction during the shower scene. It was totally worth it. 

If you love suspense thrillers, there are few as compelling, shocking and believable as Psycho.