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Movie Info & Cast
- Rod Taylor
- Jessica Tandy
- Suzanne Pleshette
- Tippi Hedren
- Veronica Cartwright
- Ethel Griffies
- Charles McGraw
- Ruth McDevitt
- Lonny Chapman
- Joe Mantell
Did You Know?
- This movie featured three hundred seventy effects shots. The final shot is a composite of thirty-two separately filmed elements.
- When Melanie was driving her car to deliver the lovebirds, there's a shot of the front of the car and the camera is reflected in the window.
- Mitch Brenner: Be able to find your way back all right?
- Melanie Daniels: In case you're interested, I was pushed into that fountain.
- Mitch Brenner: Without any clothes on?
- Melanie Daniels: With all my clothes on. The newspaper that ran that story happens to be a rival of my father's paper.
- Mitch Brenner: You're just a poor, innocent victim of circumstances, huh?
- Melanie Daniels: Well I'm neither poor nor innocent, but the truth of that particular...
- Mitch Brenner: Truth is you were running around with a pretty wild crowd, isn't it?
- Melanie Daniels: Well yes, that's the truth, but I was pushed into that fountain, and that's the truth, too.
- Mitch Brenner: Uh huh. Do you really know Annie Hayworth?
- Melanie Daniels: No. At least I didn't till I came up here.
- Mitch Brenner: So you didn't go to school together?
- Melanie Daniels: Oh, yes.
- Melanie Daniels: No.
- Mitch Brenner: And you didn't come up here to see her.
- Melanie Daniels: No.
- Mitch Brenner: You were lying!
- Melanie Daniels: Yes, I was lying.
- Mitch Brenner: Will I be seeing you again?
- Melanie Daniels: San Francisco's a long way from here.
- Mitch Brenner: Well, I'm in San Francisco five days a week with a lot of time on my hands, I'd like to see you. Maybe we could go swimming or something. Mother tells me you like to swim.
- Melanie Daniels: How does Mother know what I like to do?
- Mitch Brenner: I guess we read the same gossip columns.
- Melanie Daniels: Oh, that. Rome.
- Mitch Brenner: Yeah, I really like to swim, I think we might get along very well.
Atom User Reviews
If this works at all it’s because of the sound design: the cacophony of squawks and flapping over the opening credits, followed by incessant tapping, screeching, chirping, fluttering – sometimes in scenes where no birds are present. And then the occasional shock of silence, which is eerier still.
Genuinely disturbing thriller classic from the master of suspense.