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...stealing an old master's painting from a crowded Italian museum. A self-contained little thriller, from the planning to the getaway, this sequence is plotted and timed as neatly as the theft itself. It also pegs the film's picaresque hero without a wasted motion. Stewart Granger is the Raffles of art-clever, nonchalant, cynically aware that the painting is on loan from a church altar, so thoroughgoing a rascal that he not only carries on an affair with his henchman's wife but uses the husband's unwitting help to break it off when...

Author: /time Magazine | Title: Cinema: The New Pictures, Dec. 10, 1951 | 12/10/1951 | See Source »

...tension of the opening sequence unwinds steadily in a dawdling intrigue of dishonor among thieves. Granger takes the painting to Tunis, where he meets silkenly villainous Art Dealer George Sanders ("You know I detest violence"), who has commissioned him to steal it. Granger tells Sanders that the painting was accidentally destroyed and proposes making forgeries instead for the wealthy collector's trade...

Author: /time Magazine | Title: Cinema: The New Pictures, Dec. 10, 1951 | 12/10/1951 | See Source »

Behave Yourself tries to get laughs out of mother-in-law jokes, a trained dog, a man's frustrated efforts to go to bed with his wife, and the innocent, harried involvement of a young couple (Farley Granger and Shelley Winters) bedeviled by comic thieves, murderers and cops...

Author: /time Magazine | Title: Cinema: Pratfalls & Tears | 11/5/1951 | See Source »

Based on Patricia Highsmith's 1950 novel, the picture begins with a chance encounter on a Washington-to-New York train between, a tennis player (Farley Granger) and a wealthy, gabby ne'er-do-well (Robert Walker) with a touch of homicidal mania. Granger, in love with Socialite Ruth Roman, wants to rid himself of a faithless wife who is balking at a divorce; Walker would like nothing better than to see his own father dead. Aglow with enthusiasm, Walker proposes that they both commit murder, obliging each other with a friendly swap of victims so that...

Author: /time Magazine | Title: Cinema: The New Pictures, Jul. 16, 1951 | 7/16/1951 | See Source »

...than in teasing, tricking and dazzling them with the masterful touch of a talented cinematic showoff. In a familiar shot of tennis spectators pivoting their heads to & fro, he plants the conspicuously immobile head of the murderer, staring at the hero. He intercuts a Forest Hills tennis match, which Granger desperately tries to win in time to intercept the villain, with a scene over a sewer grating miles away, where the murderer is straining to recover a vital piece of evidence...

Author: /time Magazine | Title: Cinema: The New Pictures, Jul. 16, 1951 | 7/16/1951 | See Source »

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