Alfred Hitchcock himself called this 1934 British edition of his famous kidnapping story "the work of a talented amateur", while his 1956 Hollywood remake was the consummate act of a professional director. Be that as it may, this earlier movie still has its intense admirers who prefer it over the Jimmy Stewart-Doris Day version, and for some sound reasons. Tighter, wittier, more visually outrageous (back-screen projections of Swiss mountains, a whirly-facsimile of a fainting spell), the film even has a female protagonist (Edna Best in the mom part) unafraid to go after the bad guys herself with a gun. (Did Doris Day do that that? Uh-uh. ) While the 1956 film has an intriguing undercurrent of unspoken tensions in nuclear family politics, the 1934 original has a crisp air of British optimism glummed up a bit when a married couple (Best and Leslie Banks) witness the murder of a spy and discover their daughter stolen away by the culprits. The chase leads to London and ultimately to the site of one of Hitch's most extraordinary pieces of suspense (though on this count, it must be said, the later version is superior). Take away distracting comparisons to the remake, and this Man Who Knew Too Much is a milestone in Hitchcock's early career. Peter Lorre makes his British debut as a scarred, scary villain. -Tom Keogh.

Among Alfred Hitchcock's pre-Hollywood movies, 1938's Young and Innocent is a most unfairly overlooked classic. It's full of themes and stylistic touches that became permanent fixtures in his career. Based on Josephine Tey's novel A Shilling for Candles, the film title refers to the characters' outlook. However Hitchcock characteristically chips away at that innocence with flourishes of macabre humour, such as scenes of a dead rat at the lunch table and a hopeless conference with a defence lawyer, while suspense is heightened in a game of blindman's buff at a children 's party. The story concerns a typically Hitchcockian innocent man (Derrick de Marney) on the run, with a trivial object to find (a raincoat) that will prove his innocence. He's helped by a fiery young girl (Nova Pilbeam) who's unfortunately the daughter of the chief constable, but has some handy first aid skills. There's also an oppressive mother figure in the shape of an overbearing aunt (Mary Clare). Aside from these thematic traits, what remains impressive for viewers new or old is Hitchcock's technical set-pieces: a car sinks into a mineshaft, a railway station is recreated in miniature, and the twitchy-eyed murderer is finally located via an extended aerial tracking shot across a ballroom (pre-empting many similar shots, eg: Notorious). This sequence took two days to accomplish, and demonstrates the director was more than ready to move to the older and less innocent American industry. -Paul Tonks.