The Man Who Knew Too Much is a 1956 American mystery thriller film directed and produced by Alfred Hitchcock, starring James Stewart and Doris Day.

In the book-length interview Hitchcock/Truffaut (1966), in response to fellow filmmaker François Truffaut's assertion that aspects of the remake were by far superior, Hitchcock replied, "Let's say the first version is the work of a talented amateur and the second was made by a professional.

In London, Scotland Yard's Inspector Buchanan tells Jo and Ben that Bernard was in Morocco to uncover an assassination plot; they are instructed to contact him if they hear from the kidnappers.

Lucy, who is guarding Hank while Edward prepares to murder him, is distressed at the prospect of killing a child, so she encourages the boy to whistle along with the song.

In The Man Who Knew Too Much, he can be seen 25:42 into the film, in the lower left corner, watching acrobats in the Moroccan market, with his back to the camera, wearing a light gray suit, and putting his hands into his pockets, just before the spy is killed.

[9] Alfred Hitchcock first considered an American remake of The Man Who Knew Too Much in 1941, but only brought back the idea in 1956 to make a film that would fulfill a contractual demand from Paramount Pictures.

The Royal Albert Hall sequence drew some inspiration from H. M. Bateman's comic "The One-Note Man", which followed the daily life of a musician who plays only one note in a symphony, similar to the cymbal player in the film.

[10] Screenwriter John Michael Hayes was hired on the condition that he would not watch the early version nor read its script, with all the plot details coming from a briefing with Hitchcock.

Herrmann can be seen conducting the London Symphony Orchestra with mezzo-soprano Barbara Howitt and chorus during the Royal Albert Hall scenes.

The sequence in the Royal Albert Hall runs for 12 minutes without any dialogue from the beginning of Storm Clouds Cantata until the climax when Doris Day's character screams.

Bosley Crowther of The New York Times wrote: "James Stewart tops his job in Rear Window as the man who knows too much, and Doris Day is surprisingly effective as the mother who is frantic about her child ...

"[15] Variety wrote that, while Hitchcock draws "the footage out a bit long at 119 minutes, he still keeps suspense working at all times and gets strong performances from the two stars and other cast members.

"[16] Harrison's Reports called the film a "highly exciting and entertaining suspense thriller" that "grips the audience from start to finish.

"[18] John McCarten of The New Yorker wrote in a negative review saying that while the remake was "unquestionably bigger and shinier than the original, it doesn't move along with anything like the agility of its predecessor.

There can be no doubt, of course, that Mr. Hitchcock at one time was a master of celluloid suspense, but increasingly of late he has been turning out movies that are too overweight to indulge in the tricks of his salad days.

It lacks the earlier pace and excitement; the peculiarly English charm of the original has been exchanged for a vague VistaVision and Technicolor cosmopolitanism; the dentist episode and the siege climax are unhappily missing.

The website's critics consensus reads: "Remaking his own 1934 film, Hitchcock imbues The Man Who Knew Too Much with picturesque locales and international intrigue, and is helped by a brilliantly befuddled performance from James Stewart.