It is certainly understandable how this movie has come to be known as "the best Hitchcock movie he never made." Nor should we fault those who have called CHARADE a Hithcock movie. The similarities are uncanny: Shocking opening scene involving a corpse, psychedelic opening credits (a la Vertigo and Psycho), Cary Grant stars as a thief, international intrigue plays a part, the female lead is strong yet beautiful, it has an unexpected plot twist, and it ends with a surprise. AND it's even put out by Universal (just like nearly every other American Hitchcock movie)! Most of all this movie is filled with incredibly black humor that trademarked many of Hitchcock's films.
But Charade is not a Hitchcock film, it is a Stanley Donan film. And while it does star Cary Grant as a thief, it does not star a blond-haired leading lady (and by 1963, Hitchcock was deep into his blond-haired obsession - Tippi Hedrin anyone?). Instead, the stunningly beautiful Audrey Hepburn stars opposite Grant, and she has jet-black hair.
The story is basically one in which Hepburn's character (Reggie Lampert) finds herself the widow of a murdered husband. She goes on to find, thanks to CIA agent Bartholomew (Walter Matthau in a rare dramatic performance), that her husband had left behind $250,000 in stolen money in some form or another. But that money is not only wanted by the CIA, but by her husband's three - or is it four? - companions who had helped him steal it. These companions, played by Grant, James Coburn, George Kennedy and Ned Glass, start dying off one by one, and Hepburn finds herself fighting to trust Grant (who keeps revealing a different identity), while all the while falling in love with him.
This is truly one of the most underrated movies of all time. First of all, the directing is worthy of Hitchcock. Although it does not include any of Hitchcock's memorable tricks (probably because this is NOT a Hutchcock movie!) it does a very good job of keeping the pace of the movie interesting, while not sacrificing character development or subtlety.
The acting is simply stunning. Cary Grant, slightly gray in this, one of his last movies, is stunning as always, capturing that blend of humor and mischief that made his To Catch a Thief performance so classic. He shines as always, proving that we may never get an actor like him ever. In CHARADE, it is quite obvious that Ian Flemming knew what he was talking about when he modeled James Bond after Grant's characterisms and acting style. Hepburn is gorgeous. The chemistry between her and Cary is fantastic (on a par with Grant and Grace Kelly in TCaT). Not only that, but on the eve of the sexual revolution, Grant and Hepburn were able to create a movie filled with sexual and steamy romance without a single iota of nudity or crass language. The supporting cast is equally good. Grant's three cohorts are equally funny and diabolical, partly parody and partly malevolent. Matthau also provides some good acting. although he falls somewhat short towards the end.
But what really stands out throughout CHARADE is the humor. In the funeral hall, as Hepburn's dead husband lies in repose, his still-living compatriots march in, each in an increasingly funny entrance (think sneezing and door-slamming). The amounts of macabre humor rival any Hitchcock movie out there. Likewise, the screwball hilarity is reminiscent of other Grant classics like "Arsenic and Old Lace". For example, after several minutes of debating Grant's taking a shower in Hepburn's room, he walks into the shower and begins scrubbing with his clothes on. The humor and romance intertwined around the intrigue and death is simply beautiful.
Once again, CHARADE is severely underrated. It deserves the recognition that "Rear Window" and "Psycho" receive as being top-notch thrillers. Undoubtedly one of Grant's best movies, and it would have been one of Hitchcock's best, too... If only he had made it.
10/10
But Charade is not a Hitchcock film, it is a Stanley Donan film. And while it does star Cary Grant as a thief, it does not star a blond-haired leading lady (and by 1963, Hitchcock was deep into his blond-haired obsession - Tippi Hedrin anyone?). Instead, the stunningly beautiful Audrey Hepburn stars opposite Grant, and she has jet-black hair.
The story is basically one in which Hepburn's character (Reggie Lampert) finds herself the widow of a murdered husband. She goes on to find, thanks to CIA agent Bartholomew (Walter Matthau in a rare dramatic performance), that her husband had left behind $250,000 in stolen money in some form or another. But that money is not only wanted by the CIA, but by her husband's three - or is it four? - companions who had helped him steal it. These companions, played by Grant, James Coburn, George Kennedy and Ned Glass, start dying off one by one, and Hepburn finds herself fighting to trust Grant (who keeps revealing a different identity), while all the while falling in love with him.
This is truly one of the most underrated movies of all time. First of all, the directing is worthy of Hitchcock. Although it does not include any of Hitchcock's memorable tricks (probably because this is NOT a Hutchcock movie!) it does a very good job of keeping the pace of the movie interesting, while not sacrificing character development or subtlety.
The acting is simply stunning. Cary Grant, slightly gray in this, one of his last movies, is stunning as always, capturing that blend of humor and mischief that made his To Catch a Thief performance so classic. He shines as always, proving that we may never get an actor like him ever. In CHARADE, it is quite obvious that Ian Flemming knew what he was talking about when he modeled James Bond after Grant's characterisms and acting style. Hepburn is gorgeous. The chemistry between her and Cary is fantastic (on a par with Grant and Grace Kelly in TCaT). Not only that, but on the eve of the sexual revolution, Grant and Hepburn were able to create a movie filled with sexual and steamy romance without a single iota of nudity or crass language. The supporting cast is equally good. Grant's three cohorts are equally funny and diabolical, partly parody and partly malevolent. Matthau also provides some good acting. although he falls somewhat short towards the end.
But what really stands out throughout CHARADE is the humor. In the funeral hall, as Hepburn's dead husband lies in repose, his still-living compatriots march in, each in an increasingly funny entrance (think sneezing and door-slamming). The amounts of macabre humor rival any Hitchcock movie out there. Likewise, the screwball hilarity is reminiscent of other Grant classics like "Arsenic and Old Lace". For example, after several minutes of debating Grant's taking a shower in Hepburn's room, he walks into the shower and begins scrubbing with his clothes on. The humor and romance intertwined around the intrigue and death is simply beautiful.
Once again, CHARADE is severely underrated. It deserves the recognition that "Rear Window" and "Psycho" receive as being top-notch thrillers. Undoubtedly one of Grant's best movies, and it would have been one of Hitchcock's best, too... If only he had made it.
10/10