Scene by Scene: 'To Catch a Thief' (1955)

Our first introduction to Bertani and straight away, we can see that
there's some bad vibes between these people and Robie himself.

Robie has come down from his ivory villa and we find the people at the
base of it don't seem all that pleased to have him around.

Fergal #.
 >> Stay informed about: Scene by Scene: 'To Catch a Thief' (1955) 

This is the first in which Robie's past is actually spoken of ..
earlier, we'd only *read* a newspaper article which referred to him ..
now, those same details (burglar before the war, reformed and fought in
the French Resistance to make amends, etc) are vocalised in the
conversation between Robie himself and Bertani the restaurant owner.

Bertani also, in this scene, playfully points out Robie's resemblance
to a cat .. "You are as nervous as a cat!". He also introduces some
extra intrigue when he speaks of earlier speaking with a customer who
was overly interested in the jewel thefts.

Fergal #.
 >> Stay informed about: Scene by Scene: 'To Catch a Thief' (1955) 

How are we supposed to feel about Robie in this scene, I wonder?
He outwits the large man, by using the man's own limited common sense
and intelligence against him.
I'm wondering though, is that such a smart thing to do? If the man is
indeed a neanderthal, mightn't he not think twice of getting revenge
for any slur, no matter how small or trivial, later?
 >> Stay informed about: Scene by Scene: 'To Catch a Thief' (1955) 

This is the third instance in the film where we are given the chance to
learn the background of John Robie.
Danielle and he flirt but, having seen the poster, we know Grace Kelly
has yet to appear (and will probably play the part of love interest) ..
so we must be imagining there's going to be some kind of cat fight
(i.e. girl fight) later on.

Fergal #.
 >> Stay informed about: Scene by Scene: 'To Catch a Thief' (1955) 

This feels, to me, like the end of the first part of the film. We've
learned a lot about our protagonist, there's been much intrigue and
feats of escape .. AND, importantly, we've gotten our first glimpse of
Grace Kelly. (She may not have spoken a word .. but she makes a hell of
an entry by simply looking so serene and sedate and the fact we'd
already been introduced to "another woman" -- a sexy little thing
herself -- hints at the possibility of a ménage-a-trois later.)

Fergal #.
 >> Stay informed about: Scene by Scene: 'To Catch a Thief' (1955) 

The second part of the film is short and sweet .. and concerns the
introduction of the important character of Hughson, the insurance man
who knows all the people with the most expensive jewels. The irony of a
reformed jewel thief striking up a partnership (let alone a friendship)
with a man who makes his living insuring the stuff is beautiful.

This scene seems to be there mostly to provide laughs .. what with the
two men having to walk faster and faster as they talk, ending with them
virtually galloping though the market and then the chase culminating in
Robie's capture (and certain arrest).

Only, we see in the next scene, with Robie's being comfortably back at
his secluded villa, that he's not arrested .. emphasising that the
police are pretty ineffectual in this film.

Fergal #.
 >> Stay informed about: Scene by Scene: 'To Catch a Thief' (1955) 

Another short episode and just before the introduction proper of Grace
Kelly.

Again, this scene (the second with the double act of Robie and
Hughson), seems played a lot for laughs .. as we see Hughson having to
agree that he too is a thief.
We also, through their conversation, get to learn some more about
Robie's past.

Fergal #.
 >> Stay informed about: Scene by Scene: 'To Catch a Thief' (1955) 

This 'chapter' really introduces the Stevens mother and daughter
nicely. Its made very clear that they are quite the odd couple, with
the loud mother and sedate daughter.

That kiss Francie gives to Robie though is famous .. and justly so ..
its a very audacious introduction to a character we were previously led
to believe was painfully quiet and reserved. At this point in the story
though, Francie's motives can only be guessed at .. is she really a
so-called 'loose woman' .. or does her glacial exterior hide a volcanic
sexual appetite .. or is there something else going on entirely?

Fergal #.
 >> Stay informed about: Scene by Scene: 'To Catch a Thief' (1955) 

>From the fantastic vistas and beautiful scenery of the earlier part of
the film, now we're being given portaits of the phenomenally beautiful
Grace Kelly, as she virtually models some fantastic attire, the film
her personal 'cat'walk.

Fergal #.
 >> Stay informed about: Scene by Scene: 'To Catch a Thief' (1955) 

(As an aside, I'm not 'judging' the character of Francie or even
hinting at a possible judging (by wondering if, at this point in the
film, we're to possibly think she might be a 'loose woman') .. I'm just
commenting and keeping in mind the fact that 'To Catch a Thief' was
made in the mid-'50's, hardly the most enlightened time itself and that
that surprise kiss might have led many viewers to just such a
conclusion.

Fergal #.)
 >> Stay informed about: Scene by Scene: 'To Catch a Thief' (1955) 

We haven't really known this character of Francie for very long and
already she's thrown the cat among the pigeons, so-to-speak. (One of
these posts, I will stop with the cat references, I swear!)

Francie has now painted herself to be not only very clever .. but also
quite the predator, her current prey the ex-cat burglar John Robie.

Fergal #.
 >> Stay informed about: Scene by Scene: 'To Catch a Thief' (1955) 

Actually, just thinking out loud .. I wonder if the cat references are
indeed valid and are there to symbolise, not John but Francie herself.
(I remember reading Spoto, I think it was, who said that the fact the
thief turns out to be a woman is significant in itself .. parallelling,
as it does, Francie's relationship with John.)

This would tie in very nicely with the bird motif (being there to
symbolise John) .. considering the relationship birds have to cats!

Fergal #.
 >> Stay informed about: Scene by Scene: 'To Catch a Thief' (1955) 

This is probably the central scene in the film.

Pictorially, its a real tour de force, considering how it begins almost
like a boxing match .. with our two leads at rest on either side of the
screen .. and then throughout, Francie will be cooing and purring and
moving stealthily around the room, confidently spinning her cunning
plan to seduce her prey.

Colour-wise and light-wise, the scene is striking. The dialogue is
smart, crisp and playfully clever ("What would you do?, "I'd go home
and get a good night's sleep", "Oh, what would you do, knowing its
right there .. and the window's locked?", "I'd go home .. get a good
night's sleep").

And then the wonderful finale, with those erotic fireworks exploding
orgasmically .. as the lovers fall into each others' arms.

Fergal #.
 >> Stay informed about: Scene by Scene: 'To Catch a Thief' (1955)