Several large mirrors dominate the plot of The Man Who Knew Too Much, turning the film’s action on its head by foreshadowing and alluding to events that mirror the current action on-screen.  The first of such examples occurs in the McKenna’s Marrakech hotel room as Jo sings an endearing duet with her son, Hank.  Indeed, though both of these serve as what I will term character mirrors, they like many others appear on opposite sides of the screen. Vertical lines create dividing surfaces that imitate actual, physical mirrors. Hank and Jo, then, come see each other both through space and through music. Though mother and son musical ditties such as these often seem trite and cutesy this one serves an important plot function. 

As if the scene could not get more idyllic, Hitchcock places flowers reminiscent of Van Gogh's "Sunflowers" in the background. In mirroring his mother’s sublime voice with his own whistling, Hank foreshadows his eventual rediscovery in the Embassy as Jo sings that same Que Sera, Sera [2]. Jo’s impassioned scream at The Albert Hall also foreshadows the scream Mrs. Drayton looses, believing that Hank’s death is imminent.  These two “mothers” mirror each other’s actions and to much the same effect, since both save a life [3].