Alfred Hitchcock obsessively returned to favorite genres, themes, and tropes throughout his career, but 1956’s The Man Who Knew Too Much represents the only instance in which he remade an earlier work. Although he reprises the basic plot and the most iconic set piece (in the Royal Albert Hall) of his 1934 British film, Hitchcock and John Michael Hayes – his go-to screenwriter of the mid-1950s – transpose the setup sequences from the Swiss Alps to the more intriguingly exotic Marrakesh and work several other substantial changes on the original. In this version, vacationing American couple Ben McKenna (James Stewart) and wife Jo (Doris Day) are traveling in French Morocco with their child, Hank (Christopher Olsen), when they’re befriended by the mysterious Louis Bernard (Daniel Gelin). The next day, a disguised Bernard is dramatically stabbed in the city’s marketplace, but before dying he imparts a secret to Ben. The plotters behind the murder kidnap and threaten Hank to keep the McKennas silent, but Bernard’s information points the couple to London, where they engage in a series of misadventures, alternately amusing and harrowing, in an attempt to rescue their son. Pressured by the studio to provide Day (who gives a surprisingly effective and affecting dramatic performance) with an opportunity to sing, Hitch ingeniously uses her high-volume performance of “Que Será, Será (Whatever Will Be, Will Be)” – which won the Oscar as Best Original Song and became the actress’ signature tune – as a pivotal element in the film’s climax.