The Man Who Knew Too Much


1h 59m 1956
The Man Who Knew Too Much

Brief Synopsis

International spies kidnap a doctor's son when he stumbles on their assassination plot.

Film Details

Also Known As
Into Thin Air
MPAA Rating
Genre
Mystery
Thriller
Adaptation
Release Date
Jun 1956
Premiere Information
New York opening: 16 May 1956; Los Angeles opening: 22 May 1956
Production Company
Filwite Productions, Inc.; Paramount Pictures Corp.
Distribution Company
Paramount Pictures Corp.
Country
Great Britain and United States
Location
Paramount Studios, Los Angeles, California, USA; England, United Kingdom; Marrakesh, Morocco; London, England, Great Britain; Marrakech,Morocco

Technical Specs

Duration
1h 59m
Sound
Mono (Western Electric Sound System)
Color
Color (Technicolor)
Theatrical Aspect Ratio
1.66 : 1
Film Length
12 reels

Synopsis

While on an extended European vacation following a medical conference in Paris, American physician Ben McKenna and his family are traveling on a bus in French Morocco when his young son Hank accidentally pulls the veil off a Moslem woman. An international incident is avoided when Louis Bernard, a Frenchman, intercedes on the McKennas' behalf. While Ben is happy to tell Louis all about his family and their planned excursions in Marrakech, his wife Jo is suspicious of the Frenchman's constant questioning. That night, Louis meets the McKennas in their hotel room for dinner, but suddenly cancels their supper plans when Rien, a hired assassin, appears at the McKennas' door. Later, at an Arab restaurant, Ben and Jo meet a British couple, the Draytons, who claim to be fans of Jo, who was a well-known singer prior to her marriage to Ben. The next morning, the McKennas and Draytons meet at the local marketplace. The usual frivolity of the market crowd is broken when a man being chased by the police collapses in Ben's arms, having been fatally stabbed in the back. It is Louis, disguised as an Arab, who, with his dying breaths, tells the physician that there is a plot to assassinate an unnamed statesman in London. While the McKennas are taken to the police station for questioning, Mrs. Drayton agrees to care for Hank in their absence. In the midst of being interrogated, Ben receives a phone call from a kidnapper, threatening his son with grievous harm if he tells the authorities what Louis said to him. After giving the high-strung Jo a sedative, Ben informs his wife that their only son has been abducted. Aware that the Draytons left Marrakech on a private plane, Ben and Jo decide to go to London and search for Hank there. Greeted at the airport by both Jo's fans and the police, the McKennas are interviewed by Inspector Buchanan of Scotland Yard, who tells them that he is well aware of the reason why their son was kidnapped. Despite his wife's pleas, Ben refuses to tell the inspector what Louis said to him, claiming that the British secret agent had spoken to him in French. Jo then receives a phone call from Mrs. Drayton, who allows the McKennas to briefly speak to Hank. Checking into a London hotel, the McKennas attempt to call Ambrose Chappell, the name Louis told Ben, but they are interrupted by the arrival of Jo's old acquaintances: Val and Helen Parnell, Jan Peterson and Cindy Fontaine. While Jo stays behind with her friends, Ben sneaks out through the hotel's service entrance to meet Chappell. At the Ambrose taxidermy shop, Ben is slow to realize that neither Ambrose Sr. nor Ambrose Jr. is involved in his son's kidnapping, and is forced to make a quick escape before the police arrive. Meanwhile, at the hotel, Jo realizes that "Ambrose Chapel" is a place, not a person, and she is soon met there by Ben. Inside the church, Hank is being held captive by the Draytons, with the help of their assistant, Edna. Also there is Rien, who is being instructed by the Draytons as to the exact moment during an Albert Hall concert that he is to commit the assassination: at a climactic cymbal crash in the performance of a cantata. The McKennas enter the chapel just as the service, administered by Mr. Drayton, is about to begin. While Ben stays inside, Jo leaves to call the police, so the Draytons cut short the service. Hearing his son's voice, Ben rushes to Hank's aid, only to be knocked unconscious by one of Draytons' henchmen. By the time the police arrive at the chapel, the Draytons have made their escape with Hank. Refusing to enter the locked church without a search warrant, the police leave, so Jo calls the police station, begging for help. She asks to speak to Buchanan, but is told that he is at an important diplomatic function at a concert at Albert Hall. When the policeman refuses to contact Buchanan, she heads off alone to Albert Hall to find him. When Rien sees her there, the assassin reminds Jo that Hank's safety depends on her silence. Meanwhile, Ben escapes the locked chapel by climbing the church bell's rope and also makes his way to the concert. Realizing that Rien is about to shoot a visiting foreign prime minister, Jo screams, causing the startled assassin to merely wound the dignitary in the arm. Ben then jumps Rien, and in his attempt to escape, the assassin falls from the balcony to his death. Back at the embassy, the Draytons are informed by the ambassador that their assassination attempt on the prime minister has failed. Despite Mrs. Drayton's objection, the ambassador then orders her husband to kill Hank. With the police unable to go into the embassy due to diplomatic immunity, the McKennas enter alone, as the invited guest of the grateful prime minister. Jo is asked to perform for the guests, and her singing voice is soon recognized by Hank. Under Mrs. Drayton's instruction, the young boy whistles along with her singing, guiding Ben to the room in which his son is being held. Mr. Drayton then appears, but rather than killing them, he decides to use Ben and Hank as human shields during his escape from the embassy. As they make their way down the grand staircase, Ben pushes Drayton, and the spy is killed when he falls on his own gun. The reunited McKennas then head back to their hotel room, where Jo's friends have been waiting the entire time.

Cast

James Stewart

Dr. Ben McKenna

Doris Day

Jo Conway McKenna

Brenda De Banzie

Mrs. Lucy Drayton

Bernard Miles

Mr. Drayton

Ralph Truman

Inspector Buchanan

Daniel Gélin

Louis Bernard

Mogens Wieth

Ambassador

Alan Mowbray

Val Parnell

Hillary Brooke

Jan Peterson

Christopher Olsen

Hank McKenna

Reggie Nalder

Rien, the assassin

Richard Wattis

Assistant manager

Noel Willman

Woburn

Alix Talton

Helen Parnell

Yves Brainville

Police inspector

Carolyn Jones

Cindy Fontaine, also known as Elsa McDuff

Alfred Hitchcock

Man watching acrobats in Moroccan marketplace

Abdelhaq Chraibi

Arab

Lou Krugman

Arab

Betty Baskcomb

Edna

Leo Gordon

Chauffeur

Patrick Aherne

English handyman

Louis Mercier

French policeman

Anthony Warde

French policeman

Lewis Martin

Detective

Gladys Holland

Bernard's girl friend

John O'malley

Uniformed attendant

Peter Camlin

Headwaiter

Ralph Neff

Henchman

John Marshall

Butler

Eric Snowden

Special branch officer

Patrick Whyte

Special branch officer

Edward Manouk

French waiter

Donald Lawton

Desk clerk

Mahin S. Shahrivar

Arab woman

Allen Zeidman

Assistant manager

Milton Frome

Guard

Walter Gotell

Guard

Frank Atkinson

Workman in taxidermist shop

Liddell Peddieson

Workman in taxidermist shop

Mayne Lynton

Workman in taxidermist shop

John Barrard

Workman in taxidermist shop

Alexis Bobrinskoy

Foreign prime minister

Janet Bruce

Box office woman

Alma Taylor

Box office woman

Naida Buckingham

Lady in audience

Janet Macfarlane

Lady in audience

Clifford Buckton

Sir Kenneth Clarke

Barbara Burke

Girl friend of the assassin

Pauline Farr

Ambassador's wife

Harry Fine

Edington

Wolf Fress

Aide to foreign prime minister

George Howe

Ambrose Chappell, Sr.

Harold Kasket

Butler

Barry Keegan

Patterson

Lloyd Lamble

General manager of Albert Hall

Enid Lindsey

Lady Clarke

Richard Marner

Aide to the ambassador

Leslie Newport

Inspector at Albert Hall

Elsa Palmer

Cook

Arthur Ridley

Ticket collector

Guy Verney

Footman

Peter Williams

Police sergeant

Richard Wordsworth

Ambrose Chappell, Jr.

Alex Frazer

Crew

Ralph Axness

2d Assistant Director

Catherine Barton

Welfare worker

Arthur Benjamin

Composer

Charles Bennett

Based on a Story by

Walter Broadfoot

Props

Hugh Brown

Assistant prod Manager

Henry Bumstead

Art Director

Robert Burks

Director of Photography

Frank Caffey

Production Manager

Frank Carroll

Mike grip

Abdelhaq Chraibi

Tech adv [Arabic]

Herbert Coleman

Associate Producer

Herbert Coleman

2nd Unit Director

Sam Comer

Set Decoration

Bill Cowitt

Casting

Virginia Darcy

Hairdresser

Ned Dobson

2d Assistant Director

Farciot Edouart

Process Photography

C. O. "doc" Erickson

Unit Production Manager

Ray Evans

Composer

Gary Fifield

Casting

Lee Forman

Ladies' Wardrobe

Cecil R. Foster Kemp

Unit Manager, London

Paul Franz

Sound Recording

Adolph Froelich

Electrician

John P. Fulton

Special Photography Effects

Gene Garvin

Sound Recording

Bill Greenwald

Casting

Dan Greenway

Makeup

John Michael Hayes

Screenwriter

Edith Head

Costumes

Bernard Herrmann

Music Score

Alfred Hitchcock

Producer

Vic Jones

Gaffer

Howard Joslin

Assistant Director

Henry Keener

Recording

Basil Keys

Assistant Director, London

Arthur Krams

Set Decoration

Ken Lobben

Stills

Leonard Mann

Men's Wardrobe

Angus Mcphail

Contract Writer

Tish Morgan

Casting Secretary

Eddie Morse

Casting

Charles Morton

Screenplay clerk

Richard Mueller

Technicolor Color Consultant

Hal Pereira

Art Director

William Pillar

Stage eng

Dick Rabis

Standby labor

Tony Regan

Casting

Don Ring

Gaffer, London

Art Sarno

Pub

Leonard South

2nd Camera

George Tomasini

Editing

Darrell Turnmire

Company grip

Paul Uhl

Assistant Camera

Sam Vitale

Assistant Editor

Wally Westmore

Makeup Supervisor

Neil Wheeler

Props

Constance Willis

Tech adv [English]

D. B. Wyndham-lewis

Based on a Story by

D. B. Wyndham-lewis

Composer

Photo Collections

The Man Who Knew Too Much (1956) - Doris Day Publicity Stills
Here are a few photos of Doris Day taken to help publicize Paramounts's The Man Who Knew Too Much (1956), directed by Alfred Hitchcock. Publicity stills were specially-posed photos, usually taken off the set, for purposes of publicity or reference for promotional artwork.

Videos

Movie Clip

Hosted Intro

Film Details

Also Known As
Into Thin Air
MPAA Rating
Genre
Mystery
Thriller
Adaptation
Release Date
Jun 1956
Premiere Information
New York opening: 16 May 1956; Los Angeles opening: 22 May 1956
Production Company
Filwite Productions, Inc.; Paramount Pictures Corp.
Distribution Company
Paramount Pictures Corp.
Country
Great Britain and United States
Location
Paramount Studios, Los Angeles, California, USA; England, United Kingdom; Marrakesh, Morocco; London, England, Great Britain; Marrakech,Morocco

Technical Specs

Duration
1h 59m
Sound
Mono (Western Electric Sound System)
Color
Color (Technicolor)
Theatrical Aspect Ratio
1.66 : 1
Film Length
12 reels

Award Wins

Best Song

1956

Articles

The Man Who Knew Too Much (1956)


Alfred Hitchcock's first thriller was The Lodger (1927), but it wasn't until the success of The Man Who Knew Too Much in 1934 that Hitchcock began a near-unbroken string of suspense thrillers that made him world famous. Twenty-two years later, he returned to the scene of the crime for the only remake of his career.

The Man Who Knew Too Much (1956) took its time getting started. Producer David O. Selznick bought the rights to the original movie in 1941 and urged his staff director Alfred Hitchcock to craft a U.S. version. At the time, Hitchcock thought he had no new spin to put on the story and declined. By January 1955 however, Hitchcock was his own producer and felt the time was finally right. Just prior to this, he and his wife had gone on a 28th wedding anniversary tour of Europe and made a detour to Morocco. The location led Hitchcock to imagine the reaction of a vacationing American couple stumbling into the middle of foreign intrigue.

Since Hitchcock's then star screenwriter John Michael Hayes (Rear Window, 1954, To Catch a Thief, 1955) was busy, Hitchcock began putting the story together with old friend Angus MacPhail. James Stewart was connected to the project from the beginning and, for the wife, Hitchcock wanted Doris Day as an important part of the plot involved the mother being a singer. Without giving away too much, a section of the story is based on an old legend concerning Richard The Lionheart. Captured on his return from the Crusades, Richard was discovered when his troubadour went outside the castles where Richard might be held and sang the first verse of Richard's favorite song. When Richard joined in with the second verse, the troubadour knew he had found his king.

Finally available, Hayes began writing the screenplay in March and elaborated on the tension caused by the wife having stifled her stage career for home and family. He based Doris Day's character on the then popular singer Jo Stafford and, as comic relief, gave her show business friends based on actual theatrical figures in London.

Hayes barely completed his first draft as Hitchcock, actors and company left for London and finally Morocco where filming began on April 29th. The shooting there was not only on the set. Riots broke out against the French protectorate that ruled the country and the production barely escaped Morocco before the French administrator was assassinated.

London followed with another month of filming, mostly centered on the Royal Albert Hall sequence. Hitchcock asked his new musical collaborator, Bernard Herrmann, to not only conduct the orchestra on screen but write a new piece as well. Herrmann accepted the former offer but declined the latter, re-orchestrating Arthur Benjamin's "Storm Cantata" from the original movie. Meanwhile the important song, needed for part of the film's story, was commissioned from songwriters Jay Livingston and Ray Evans. Asked for something with an "international" feel, they supplied "Whatever Will Be, Will Be (Que Sera, Sera)" that had been inspired by the movie The Barefoot Contessa (1954). The song would provide The Man Who Knew Too Much with its only Academy Award®.

Hitchcock's remake would be a huge box-office success but it did cost him. Screenwriter Hayes was infuriated when Hitchcock submitted both Hayes' and MacPhail's names to receive credit for the screenplay. Hayes demanded the credit be sent for arbitration to the Writers Guild of America who judged Hayes the sole author. Though he was successful in his bid for credit, it caused a never-healed rift between Hitchcock and the man many feel was his best screenwriter. Their last collaboration, however, remains one of the most popular of Hitchcock's films and one of the most successful movie remakes.

Director/Producer: Alfred Hitchcock
Associate Producer: Herbert Coleman
Screenplay: John Michael Hayes based on the screenplay by Charles Bennett and D.B. Wyndham-Lewis
Cinematography: Robert Burks
Art Direction: Henry Bumstead, Hal Pereira
Music: Bernard Herrmann
Editing: George Tomasini
Cast: James Stewart (Dr. Ben McKenna), Doris Day (Jo McKenna), Brenda De Banzie (Lucy Drayton), Bernard Miles (Edward Drayton), Ralph Truman (Buchanan), Daniel Gelin (Louis Bernard)
C-120 min. Letterboxed.

by Brian Cady
The Man Who Knew Too Much (1956)

The Man Who Knew Too Much (1956)

Alfred Hitchcock's first thriller was The Lodger (1927), but it wasn't until the success of The Man Who Knew Too Much in 1934 that Hitchcock began a near-unbroken string of suspense thrillers that made him world famous. Twenty-two years later, he returned to the scene of the crime for the only remake of his career. The Man Who Knew Too Much (1956) took its time getting started. Producer David O. Selznick bought the rights to the original movie in 1941 and urged his staff director Alfred Hitchcock to craft a U.S. version. At the time, Hitchcock thought he had no new spin to put on the story and declined. By January 1955 however, Hitchcock was his own producer and felt the time was finally right. Just prior to this, he and his wife had gone on a 28th wedding anniversary tour of Europe and made a detour to Morocco. The location led Hitchcock to imagine the reaction of a vacationing American couple stumbling into the middle of foreign intrigue. Since Hitchcock's then star screenwriter John Michael Hayes (Rear Window, 1954, To Catch a Thief, 1955) was busy, Hitchcock began putting the story together with old friend Angus MacPhail. James Stewart was connected to the project from the beginning and, for the wife, Hitchcock wanted Doris Day as an important part of the plot involved the mother being a singer. Without giving away too much, a section of the story is based on an old legend concerning Richard The Lionheart. Captured on his return from the Crusades, Richard was discovered when his troubadour went outside the castles where Richard might be held and sang the first verse of Richard's favorite song. When Richard joined in with the second verse, the troubadour knew he had found his king. Finally available, Hayes began writing the screenplay in March and elaborated on the tension caused by the wife having stifled her stage career for home and family. He based Doris Day's character on the then popular singer Jo Stafford and, as comic relief, gave her show business friends based on actual theatrical figures in London. Hayes barely completed his first draft as Hitchcock, actors and company left for London and finally Morocco where filming began on April 29th. The shooting there was not only on the set. Riots broke out against the French protectorate that ruled the country and the production barely escaped Morocco before the French administrator was assassinated. London followed with another month of filming, mostly centered on the Royal Albert Hall sequence. Hitchcock asked his new musical collaborator, Bernard Herrmann, to not only conduct the orchestra on screen but write a new piece as well. Herrmann accepted the former offer but declined the latter, re-orchestrating Arthur Benjamin's "Storm Cantata" from the original movie. Meanwhile the important song, needed for part of the film's story, was commissioned from songwriters Jay Livingston and Ray Evans. Asked for something with an "international" feel, they supplied "Whatever Will Be, Will Be (Que Sera, Sera)" that had been inspired by the movie The Barefoot Contessa (1954). The song would provide The Man Who Knew Too Much with its only Academy Award®. Hitchcock's remake would be a huge box-office success but it did cost him. Screenwriter Hayes was infuriated when Hitchcock submitted both Hayes' and MacPhail's names to receive credit for the screenplay. Hayes demanded the credit be sent for arbitration to the Writers Guild of America who judged Hayes the sole author. Though he was successful in his bid for credit, it caused a never-healed rift between Hitchcock and the man many feel was his best screenwriter. Their last collaboration, however, remains one of the most popular of Hitchcock's films and one of the most successful movie remakes. Director/Producer: Alfred Hitchcock Associate Producer: Herbert Coleman Screenplay: John Michael Hayes based on the screenplay by Charles Bennett and D.B. Wyndham-Lewis Cinematography: Robert Burks Art Direction: Henry Bumstead, Hal Pereira Music: Bernard Herrmann Editing: George Tomasini Cast: James Stewart (Dr. Ben McKenna), Doris Day (Jo McKenna), Brenda De Banzie (Lucy Drayton), Bernard Miles (Edward Drayton), Ralph Truman (Buchanan), Daniel Gelin (Louis Bernard) C-120 min. Letterboxed. by Brian Cady

Quotes

If you ever get hungry, our garden back home is full of snails. We tried everything to get rid of them. We never thought of a Frenchman!
- Hank McKenna
You have muddled everything from the start, taking that child with you from Marrakesh. Don't you realise that Americans dislike having their children stolen?
- The Ambassador

Trivia

in the Moroccan marketplace watching the acrobats with his back to the camera just before the murder.

Bernard Herrmann (the composer of the score) can be seen conducting the orchestra during the Albert Hall sequence.

The plot calls for a man (Daniel Gelin in the role of Louis Bernard) to be discovered as "not Moroccan" because he was wearing black makeup. The makeup artists couldn't find a black substance that would come off easily, and so they painted the fingers of the other man (Jimmy Stewart) white, so that he would leave pale streaks on the other man's skin (according to Pat Hitchcock O'Connell, this idea was suggested by Daniel Gelin).

The Albert Hall sequence lasts 12 minutes without a single word of dialogue and consists of 124 shots.

The film was unavailable for decades because its rights (together with four other pictures of the same period) were bought back by Hitchcock and left as part of his legacy to his daughter. They've been known for long as the infamous "5 lost Hitchcocks" amongst film buffs, and were re-released in theatres around 1984 after a 30-year absence. The others are Rear Window (1954), Rope (1948), Trouble with Harry, The (1955), and Vertigo (1958)

Notes

The working title of this film was Into Thin Air. The Man Who Knew Too Much opens with the following written statement: "A single crash of Cymbals and how it rocked the lives of an American Family."
       According to the file on the film in the Paramount Collection at the AMPAS Library, The Man Who Knew Too Much originally was to be produced by the studio and Patron, Inc., a company to be jointly owned by actors James Stewart and Doris Day, along with producer-director Alfred Hitchcock. When the film finally went before the cameras, however, the production company was Filwite Productions, Inc., which was co-owned by Hitchcock and Stewart. It has not been determined why Day was not included in the final production deal.
       According to production charts found in the Paramount Collection, shooting on The Man Who Knew Too Much began on May 12, 1955 in Marrakech. Filming on location in Morocco was completed on May 20, 1955, and the production then moved to London, where it resumed filming on May 25, 1955. After finishing shooting in London on June 21, 1955, the production returned to the Paramount studio lot in Hollywood, where interiors commenced filming on June 25, 1955 and ended on August 24, 1955. In all, The Man Who Knew Too Much finished production thirty-seven days behind schedule, including six shutdown days. Paramount internal memos show that the film went well over its original budget, costing $1,834,000, exclusive of the stars' and director's salaries.
       According to the file on the film in the MPAA/PCA Collection at the AMPAS Library, writer Angus McPhail worked on the screenplay to The Man Who Knew Too Much. In a letter dated October 12, 1955, McPhail protested his lack of screen credit on the film to the Screen Writers Guild, arguing that he worked on the project from January 25, 1955 to April 25, 1955. At that time, screenwriter John Michael Hayes was brought onto the project, and the draft of the screenplay dated May 7, 1955 contained both writers' names. McPhail further argued that he continued to work on the project, making changes to the 7 May draft between May 9, 1955 and June 7, 1955, and thus deserved first screenwriter credit. Hayes, however, wrote on August 8, 1955 that he did not believe McPhail deserved co-writer credit and the Screen Writers Guild agreed with his opinion, granting Hayes the lone screenwriting credit. The Man Who Knew Too Much was the fourth and final film collaboration between Hitchcock and Hayes.
       Hollywood Reporter news items include Edith Russell, Greta Ullman, June Wood, Edna Smith, Frieda Stoll, Howard Beals, Walter Bacon, Sybil Bacon, Ruth Barnell, Estelle Bennett, Arline Bletcher, Helen Bruno, Henriette Burns, Vicky Coe, Adele Corliss, May Cruze, Millie Fitzgerald, Charles Dunbar, Mary Adam Hayes, Marion Lessing, Ann Kunde, Boots Kaye and Lottie Fletcher in the cast, but their appearance in the released film has not been confirmed. Hitchcock makes his customary cameo by appearing in the Moroccan marketplace, watching the acrobats. Los Angeles Times reported that the Los Angeles premiere of The Man Who Knew Too Much was held on May 22, 1956, as a benefit for the University Religious Conferences. The film received the 1956 Academy Award for Best Song for the Jay Livingston-Ray Evans composition "Whatever Will Be, Will Be (Que Sera, Sera)." The song became a trademark hit for singer-actress Doris Day, who performed it again in two other films, M-G-M's 1960 release Please Don't Eat the Daisies and M-G-M's 1966 film The Glass-Bottomed Boat (see AFI Catalog of Feature Films, 1961-70). Day also used it as the theme song for her 1960s CBS television series. In 1963, New York Times reported that Paramount was reissuing The Man Who Knew Too Much as a double feature with another Hitchcock film, The Trouble with Harry (see below).
       In 1965, Hollywood Reporter reported that Hitchcock and Stewart had filed suit against Paramount for $4,000,000, arguing that their eight-year agreement with the studio had ended and that Paramount had breached their copyright by televising the film. The director and actor also requested that the film's original negative be returned to them by the studio. The final disposition of this lawsuit has not been determined, but the film remained out of commercial distribution for many years. The Man Who Knew Too Much was one of five Hitchcock productions purchased by Universal in 1983, and was re-released by that studio in January 1984.
       The Man Who Knew Too Much is a remake of a 1935 Gaumont-British Picture Corp. production of the same name, starring Leslie Banks and Edna Best and directed by Hitchcock (see AFI Catalog of Feature Films, 1931-40). Charles Bennett and D. B. Wyndham-Lewis, whose onscreen credits for the 1956 version reads "Based on a story by," wrote the original story for the 1935 version. Although the two films have a number of differences, for example, changing the site of the kidnapping from Switzerland to Morocco, the plots are quite similar. In discussing his work on the two films in an interview published by modern sources, Hitchcock stated: "Let's say that the first version was the work of a talented amateur and the second was made by a professional."

Miscellaneous Notes

Re-released in United States on Video May 23, 1995

VistaVision

Released in United States Summer June 1956

Re-released in United States on Video May 23, 1995

Released in United States Summer June 1956