Forget the story and feel the suspense, as Hitch uses that old kid-in-danger set-up to serve up a succession of virtuosic set pieces.
A dead man walking through a Marrakech market place.
Jimmy Stewart trying to make a critical phone call as he's interrupted by some luvvies, and heading to a secret rendezvous tracked by noisy footsteps.
The mesmeric, pulsating Albert Hall climax, which builds from a concert performance to one of the tautest sequences in the Master's oeuvre, as Bernard Herrmann conducts, a statesman watches, and a gaunt gunman lurks.
And Doris Day belting out Que Sera, Sera at the top of her lungs, hoping it will rouse her kidnapped kid, and bring him back to her.