| Photos (see all 38 | slideshow) |
| Cary Grant | ... | John Robie | |
| Grace Kelly | ... | Frances Stevens | |
| Jessie Royce Landis | ... | Jessie Stevens | |
| John Williams | ... | H. H. Hughson | |
| Charles Vanel | ... | Bertani | |
| Brigitte Auber | ... | Danielle Foussard | |
| Jean Martinelli | ... | Foussard | |
| Georgette Anys | ... | Germaine | |
| listado alfabético del resto del reparto: | |||
| George Adrian | ... | Detective (uncredited) | |
| John Alderson | ... | Detective at the costume ball (uncredited) | |
| Martha Bamattre | ... | Bit part (uncredited) | |
| René Blancard | ... | Insp. Lepic (uncredited) | |
| Eugene Borden | ... | French waiter (uncredited) | |
| Nina Borget | ... | Frenchwoman (uncredited) | |
| Margaret Brewster | ... | Cold-cream woman (uncredited) | |
| Lewis Charles | ... | Man with milk in kitchen (uncredited) | |
| Frank Chelland | ... | Chef (uncredited) | |
| William 'Wee Willie' Davis | ... | Big man in kitchen (uncredited) | |
| Dominique Davray | ... | Antoinette (uncredited) | |
| Guy De Vestel | ... | Detective (uncredited) | |
| Bess Flowers | ... | Woman at Costume Ball (uncredited) | |
| Russell Gaige | ... | Mr. Sanford (uncredited) | |
| Steven Geray | ... | Desk clerk (uncredited) | |
| Michael Hadlow | ... | Monaco policeman (uncredited) | |
| Jean Hébey | ... | Police inspector Mercier (uncredited) | |
| Alfred Hitchcock | ... | Man sitting next to John Robie on bus (uncredited) | |
| Gladys Holland | ... | Elegant French woman (uncredited) | |
| Bela Kovacs | ... | Detective (uncredited) | |
| Jeanne Lafayette | ... | Frenchwoman (uncredited) | |
| Donald Lawton | ... | Bit part (uncredited) | |
| Eddie Le Baron | ... | Frenchman (uncredited) | |
| Roland Lesaffre | ... | Claude (uncredited) | |
| Edward Manouk | ... | Kitchen help (uncredited) | |
| Don Megowan | ... | Detective at Costume Ball (uncredited) | |
| Louis Mercier | ... | Croupier (uncredited) | |
| Alberto Morin | ... | Detective (uncredited) | |
| George Nardelli | ... | Croupier (uncredited) | |
| Paul Newlan | ... | Vegetable man (uncredited) | |
| Barry Norton | ... | Frenchman (uncredited) | |
| George Paris | ... | Croupier (uncredited) | |
| Manuel París | ... | Croupier (uncredited) | |
| Leonard Penn | ... | Monaco policeman (uncredited) | |
| Albert Pollet | ... | Croupier (uncredited) | |
| Loulette Sablon | ... | Frenchwoman (uncredited) | |
| Cosmo Sardo | ... | Bit part (uncredited) | |
| Otto F. Schulze | ... | Chef (uncredited) | |
| Adele St. Mauer | ... | Woman with birdcage on bus (uncredited) | |
| Marie Stoddard | ... | Mrs. Sanford (uncredited) | |
| Aimee Torriani | ... | Woman in kitchen (uncredited) | |
| Philip Van Zandt | ... | Jewelry clerk (uncredited) | |
Dirigida por | |||
| Alfred Hitchcock | |||
Créditos del guión | ||
| David Dodge | (novel) | |
| John Michael Hayes | (screenplay) | |
Producida por | |||
| Alfred Hitchcock | .... | producer (uncredited) | |
Música original por | |||
| Lyn Murray | (music scored by) | ||
Fotografía por | |||
| Robert Burks | (director of photography) | ||
Montaje por | |||
| George Tomasini | |||
Dirección artística | |||
| J. McMillan Johnson | (as Joseph MacMillan Johnson) | ||
| Hal Pereira | |||
Decorados | |||
| Sam Comer | |||
| Arthur Krams | |||
Departamento de maquillaje | |||
| Wally Westmore | .... | makeup supervisor | |
| Bud Bashaw Jr. | .... | makeup artist (uncredited) | |
| Harry Ray | .... | makeup artist (uncredited) | |
Dirección de producción | |||
| William Davidson | .... | assistant production manager (uncredited) | |
| C.O. Erickson | .... | assistant production manager (uncredited) | |
| C.O. Erickson | .... | unit production manager (uncredited) | |
Ayudante de dirección | |||
| Herbert Coleman | .... | second unit director | |
| Daniel McCauley | .... | assistant director | |
Art Department | |||
| Dorothea Holt | .... | illustrator (uncredited) | |
Departamento de sonido | |||
| John Cope | .... | sound recordist | |
| Harold Lewis | .... | sound recordist | |
| Bill Wistrom | .... | sound editor (uncredited) | |
Efectos especiales | |||
| Farciot Edouart | .... | process photography | |
| John P. Fulton | .... | special photographic effects | |
Camera and Electrical Department | |||
| W. Wallace Kelley | .... | photographer: second unit (as Wallace Kelley) | |
| Bill Avery | .... | still photographer (uncredited) | |
| George Gall | .... | assistant camera (uncredited) | |
| James Grant | .... | assistant camera (uncredited) | |
| Vic Jones | .... | gaffer (uncredited) | |
| Gene Liggett | .... | second assistant camera (uncredited) | |
| William Schurr | .... | camera operator (uncredited) | |
| Leonard J. South | .... | camera operator (uncredited) | |
| Darrell Turnmire | .... | key grip (uncredited) | |
Costume and Wardrobe Department | |||
| Ed Fitzharris | .... | wardrobe: men (uncredited) | |
| Grace Harris | .... | wardrobe: women (uncredited) | |
Editorial Department | |||
| Richard Mueller | .... | color consultant: Technicolor | |
Otros miembros del equipo | |||
| Elsie Foulstone | .... | dialogue coach | |
| Sylvette Baudrot | .... | script supervisor: France (uncredited) | |
| Claire Behnke | .... | script supervisor (uncredited) | |
| Vincent McEveety | .... | technical advisor (uncredited) | |
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The best thing about this film is the chemistry between leads Grant and Kelly. Grant is as debonair as usual and Kelly was never more glamorous. The costumes she wears are very flattering to her and she is to the clothes. The dialogue between them sparkles throughout and is a pleasure to watch even if the course of their relationship is predictable. Grant's self-deprecating in-jokes are another nice touch. Further pleasantly adding to the fantasy ambience is the spectacular photography of the French riviera. John Williams is also great as the insurance investigator, the type of character he played in Hitchcock's Dial M for Murder (also with Kelly) and in the Doris Day-Rex Harrison film, Midnight Lace. This film is not one of the most psychologically involving in Hitchcock's pantheon but it is not designed to be. It is enjoyed best as what it was produced to be: glossy high production value escapist fare. 8/10.