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. 

Black Narcissus (1947)

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

When the forces of nature take hold upon you, there is no escaping it. 

A psychological drama with a hint of erotica, Black Narcissus stands for allure, and a deep, relentlessly rising foreboding attraction. 

Caught off guard
A group of nuns are sent high up into the Himalayas at a Rajput king's request. 

It doesn't help that the place allocated for the nuns formerly housed mistresses of the king's father - a harem. 

Previously, a group of monks tried setting up their establishment at the place, but left soon after.  

Will the nuns succeed where others of their kind have failed? 

What is it about the mountains, the inhabitants, in the light of repressed desires, and disciplined lives in the service of the lord? 

Sister Clodagh (Deborah Kerr), the appointed 'Sister Superior' along with five more nuns, is determined to educate the local Indian villagers, provide free medical treatment, set up a vegetable garden, and to teach lace-making to the local girls. 

But there is something overpowering about the Himalayas, the rich clean breeze and its people. 

A raw sensuality pervades the surroundings, and soon Sister Clodagh and the other nuns struggle to control their senses to the sheer beauty and allure of the place. 

It is on the troublesome Sister Ruth (Kathleen Byron) that the locale has its most alarming effect, leading to envy, sexual tensions, murderous intent and tragedy. 

Mountain air, repressed souls 
Based on Rumer Godden's 1939 novel Black Narcissus, co-directors and screenplay writers Michael Powell and Emeric Pressburger deftly embroider this drama.

Kathleen Byron is a steal as Sister Ruth, a forceful character who powers this psychological drama. 

Deborah Kerr is good too, as is Jean Simmons as the beautiful Kanchi, Sabu as the curious young general and David Farrar as Mr. Dean - the general's agent.    

Balanced take, largely...
Though most of the film was shot in-studio and not in India, the makers convey the sense of location competently. 

Even if you make out the painted mountains in some shots, the elevation conveyed in the ringing of the bell scenes is commendable.

The characters are relatable, the screenplay rushes on skillfully, there is no overplay, but for a touch of British dominance and superiority, compared to the 'natives.'

The unprecedented climax scenes curve this drama up several notches. 

Black Narcissus is a good entertaining British drama, lit with exceptional moments - a cautionary and discreetly insightful tale on self-denial, repression and cultural divides.

A 40's British mini-classic.