Admirable film.

Pretty good movie overall. First half was nothing special but it got better as it went along.

The film makes a home in your brain and the only cure is to see it again.

The film never slows down or bores, plunging from one harrowing sequence to the next.

I can see no point in going over yet again why this film delights me and as for those who despise it - a shrug of the shoulders. The whole tone of the film is set in the titles with the delicious combination of Bernard Hermann's crisp score and a quirky very 'New Yorker' cyclorama of Saul Steinberg cartoons. The credits are astonishingly chic and ahead of their time. Steinberg was one of the top New Yorker cartoonist and Hitchcock was a lifetime fan of the New Yorker humorists and wit. Shirley Maclaine, fresh from Broadway reveals her natural, quirky quality in this first film - one can already glimpse the consummate actress of The Apartment. I have always treasured the 'two Mildreds' (Natwick & Dunnock) in almost any film that gies them screen time. Mildred Dunnock was a true 'Actors Studio' founder and she brings her skills to the role though Hitchcock purported to dislike the Actor's Studio methods, watch her throughout this film as she brings an extra layer of emotion to virtually every scene she is in.

I'm going to keep my review short. I enjoyed this film, and found enough humor mixed with a fairly good plot line. I think the film is worth watching, and a must for any Hitchcock fan. However a significant theme of the movie in the beginning that I enjoyed was how nonchalant everyone acted about Harry's death/dead body. And it does continue throughout the movie, with characters shrugging off the troubles, and acting as if it's a slight inconvenience. However in the beginning everyone that stumbles up to Harry's' body hilariously doesn't care, but later it's discovered that's they already knew, and were pretending. This ruined the earlier jokes for me, and made the film less funny to me from then on. 7/10

The real trouble with Harry is that Alfred Hitchcock decided to make a movie about him. Come on, Al, you walked right into that one.I'm not an Alfred Hitchcock fan. Three years of film school taught to revere and appreciate the "master of suspense", but I could never force myself to like his movies. I find them incredibly slow and boring. The Trouble with Harry is no exception. It's very slow, boring, and wordy. There's a dead guy. His name is Harry. Let's spend two hours talking about it.The only reason to watch this movie, besides if you're a Hitchcock fan and actually like his movies, is Shirley MacLaine. This was her first movie; she was plucked from obscurity and made into a star overnight. Well, that's not exactly true. You know that famous story about the understudy who got her big Broadway break when the main actress broke her foot and couldn't go on? That understudy was Shirley MacLaine. Because of her debut onstage in The Pajama Game, she was signed to Paramount Pictures and was subsequently cast in The Trouble with Harry.

THE TROUBLE WITH HARRY is probably the most atypical Hitchcock film I've seen so far. While it does have a brilliantly macabre sense of humor, the overall story is less than the sum of its parts. The basic story is that Harry is found dead in the woods, and a small group of people have trouble deciding what to do with his body. What the film does well is mining humor from the various situations arising from finding a dead body. Given that the subject matter is kind of grotesque, this results in more chuckles than outright guffaws. Fortunately, I thought the characters were also interesting, if a little underwritten. Shirley MacLaine did well in her first big screen role, and Edmund Gwynn (Kris Kringle in MIRACLE ON 34TH STREET) was also rather entertaining to watch. I also thought that the tonal shifts, while a little odd at first, gave the film a quirky air that I grew to like. An example of how this plays out is in conversations that originally revolve around Harry, but then rather cavalierly shift to other, more banal, romantic comedy territory. If James Stewart and Grace Kelly coming together over a potential murder in REAR WINDOW was weird, two couples doing the same thing over a dead body for essentially the entire film here was downright odd. Ultimately, though, where the narrative ends up isn't as interesting as the journey taken to get there, and is a little underwhelming as a result. This isn't one of Hitchcock's greatest films, but it did provide a refreshing change of pace.