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Archive for the ‘Alfred Hitchcock’ Category

the movie poster for “I Confess” - Click for larger image

In the confessional boothMany people who have seen Alfred Hitchcock’s I Confess (1953) say that it’s one his most underrated films. After seeing it last week, I have to agree with them although I wouldn’t be quick to say that it’s a great movie. It’s flawed, that’s for sure, but it’s also a good, solid film. I Confess is unlike any of Hitchcock’s movies since it lacks the mysterious glamour that’s found in his most famous works. The plot centers around a priest named Father Logan (played beautifully by Montgomery Clift), who is unable to tell the police about a murder since he is bound by the vow of confessional secrecy. Also complicating matters is the involvement of an old flame, Ruth (Anne Baxter) and a police inspector, Laurrue (Karl Malden), who is intent on finding out the truth.

There are two things that keep I Confess from being a great Hitchcock movie: the flashback romance between Father Logan and Ruth as well as the fact that we immediately know who the murderer is. While both ideas are necessary to the plot, their execution bogs the story down a bit.

Confessing to the wifeSince Hitchcock wastes no time in getting to the “who” and “why” of the story, you find out that Otto Keller (O.E. Hasse) is the murderer. Otto is an employee of the church as well as gardener for the man he killed, local lawyer, Villette. After confessing his sin to Father Logan in the confessional, Otto then tells his wife, Alma (Dolly Hass) why he killed Villette–he stole $2,000 because he was sick of watching her work so hard. During the confession, Father Logan told Otto that he must give the money back–an idea that terrifies him since he doesn’t want to be caught. Grief-stricken, Alma fears that Father Logan will go to the authorities and report the crime and suddenly Otto realizes that he is bound to his Catholic vow. He must keep the confession secret.

What’s interesting about this scene is watching Otto’s manner change from panicked and fearful to annoyingly confident. He is no longer frightened. You can literally see the weight of his guilt lift off his shoulders. Otto has gained a tremendous amount of power, knowing he can commit murder and get away with it. His eyes become wide and the expression on his face turns manic with an almost sick kind of glee. There are no doubts in his mind that Father Logan will not go to the police. Otto has faith in his strength as a man of the cloth, but what he doesn’t realize is that his actions will end up hurting the person he loves the most: Alma.

While it’s interesting to start off the movie with a bang, it lessens the suspense throughout. Even though Ruth (Baxter) gets involved halfway through and you find out that Villette was blackmailing her, you still know that Keller is the murderer. Part of the fun of a Hitchcock movie is the big reveal or a murder committed either halfway through or at the end: Anthony Perkins in Psycho, Robert Walker in Strangers on a Train or the “two” Kim Novaks in Vertigo. And while the ending of I Confess is definitely exciting, the middle of the film has a tendency to lag.

Flashback romance - Anne Baxter and Montgomery CliftPart of the problem with the Ruth subplot is that it doesn’t fit in with the rest of the movie. Anne Baxter is perfect for the part of Ruth. She does well with the material and she and Clift are well matched. But it’s the part itself that seems as though it was transported out of another movie, almost as though Hitchcock was trying to inject his brand of romance for the sake of adding it. For the most part, I Confess has a sharpness to it. The cinematography is fantastic and crisp, but with Ruth’s subplot it suddenly takes on a dream-like quality to reflect her obsessive love for Father Logan. Compared to the tightness of the rest of the script, it’s jarring, to say the least. Yet, Ruth flashback is essential to the plot since in trying to help him clear his name, she winds up doing more damage to his case.

Montgomery Clift

Montgomery Clift, an actor I’ve always liked, is beyond amazing in I Confess. I noticed that he doesn’t say much. Instead of dialogue, Hitchcock uses close-ups on Clift’s face to convey the emotions he’s going through. What’s amazing about his performance is that he expresses so much through his eyes. You see the agony that he’s going through, the internal struggle of wanting to tell the police even though he knows he can’t. Father Logan’s love for God and his devotion to the church is stronger than his own need.  As the story progresses and Otto becomes more and more aggressive, taunting Father Logan and lying about his own involvement, Clift does an amazing job at expressing his character’s fear of being arrested and hung for a crime he didn’t commit. I’ve seen quite a few of Clift’s films and I Confess is certainly one of his best. So much of the movie succeeds because of his performance. Clift’s Father Logan carries himself with a quiet dignity. There’s no doubt that he will honor the sacred vows he made when he became a Priest, no matter what the cost.

The heart of I Confess is rooted in the “C” word: Catholicism. After watching this and looking up various articles, I wasn’t very surprised to find out that Hitchcock was a Catholic throughout most of his life. If one is brought up in another denomination, the vow of Confessional secrecy that sets the plot into motion might not be familiar to some. Hitchcock uses various Catholic themes throughout, mainly religious fear, not to mention guilt, suffering and forgiveness. All the characters go through some sort of suffering throughout the film, but it’s Father Logan who receives the brunt of it. Here’s a man who devotes his life to God and winds up suffering for the sins of others (Otto’s murder and Ruth’s obsessive love for him despite being married) because he’s unwilling to break the promises he made to God. Hitchcock makes it quite clear that Father Logan is a Christ-like figure, most notably during the scene where he goes walking through the streets of Quebec. Clift is presented in a long shot, with a statue of Christ carrying the cross while being flanked by two guards in the foreground. It’s not subtle at all. This image is repeated later in the movie, during Father Logan’s trial. When you see him, he’s surrounded by two guards, while a large crucifix hangs on the wall across from his seat. It’s as though Hitchcock is setting up Logan by showing him what will happen if the jury finds him guilty: he will hang. Not only will he die for Otto’s sin, but Ruth’s as well.

Carrying the CrossModern symbolismDelievering the verdict
The religious symbolism throughout I Confess 

The tension between Father Logan and Otto is really what elevates the premise of I Confess. It’s almost unbelievable how brazen Otto becomes in taunting Father Logan, reminding him of his confessional vow as well as lying to the authorities and basically selling out the man who is protecting him. At first his faith in Father Logan is solid. At the beginning of the story, Otto tells Logan, “I have abused your kindness…you gave my wife and me a home–even friendship, so wonderful a thing for a refugee, a German, a man without a home.” But it becomes easier and easier for Otto to transfer his own guilt to the priest, therefore making him less and less sure of Father Logan in the process.

O.E. Hasse and Brian AherneDolly Hass as Alma
In the courtroom: Otto on the stand and Alma in the seats 

Father Logan isn’t the only one suffering at the hands of Otto–his wife, Alma also suffers as well. At first, she’s overly nervous, especially whenever she comes into contact with him. But it’s during Logan’s trial that the guilt of knowing her husband’s secret really begins taking it’s toll. When Otto testifies against Logan, and lies about the events of the night leading up to his confession, the dismay is clear on Alma’s face. With every negative testimony put against him, she grows more and more shaken. She knows the truth, but telling it would result in the death of the man she loves.

the fateful momentDolly Hass is wonderful as Alma. There’s a meekness about her that makes her perfect for the role, although in the penultimate scene, she drops it and shows a boldness in her quest do the right thing. In so many of his films, Hitchcock attempts to show you that every man has good and evil coursing through his veins and I Confess is no exception. After Father Logan receives his “Not Guilty” verdict (which is delivered with a few disparaging remarks by the foreman and judge), the crowd that waits outside the courtroom is hostile. As Alma and Otto watch Father Logan get shoved by the angry mob, Alma can take no more. Her love for Otto is trumped by the torment of wanting to do what’s right: clear an innocent man’s name. When she pushes her way through the crowd and approaches a police officer, Otto’s sense of fear takes over. He has no other choice but to shoot Alma to keep her quiet.

Here is the most interesting twist in the entire film: since Father Logan can no longer die for Otto’s sin, it’s Alma that winds up dying for it instead. She suddenly becomes the Christ-like figure in Hitchcock’s world. After suffering for her husband’s guilt, she winds up paying for it with her life. It’s a rather dark move, made even darker by the fact that this one of of Hitchcock’s only films that’s completely devoid of humor. It’s also important to note that in the original play on which this is based, Father Logan does die at the end, which would have made his Christ-like transformation complete.

Forgiveness - O.E. Hasse and CliftDuring the final moments of I Confess, Otto winds up falling into his own trap and thinking that Father Logan has told the authorities, winds up indicting himself. After shooting at the police, they shoot back and Otto is struck. As he lays dying, he finds out that Alma has died and asks forgiveness from Father Logan. It’s amazing that his love of Alma is what drove him to steal and murder, only to turn around and murder the woman he loved in order to save himself. This realization is what causes Otto to ask forgiveness before he dies, because if one is truly sorry for their actions, then forgiveness is granted. The workings of the Catholic church do come full circle in I Confess, which I thought was nicely done. You’re to believe that Otto, while not a truly bad man, got swept up in his own fear to the point where he became someone else entirely. Under the right circumstances, anyone can change.

a chance encounter between Logan and RuthWatching I Confess in today’s world, I find it interesting that Father Logan is made out to be a good priest and a good man. Even in his darkest hour and after aimlessly walking the streets of Quebec, he makes his way to a church and turns to God for solace and comfort. There’s nothing shifty about Father Logan, although the sudden appearance of Ruth does make you wonder a bit, but only momentarily.  Yet, if I Confess were made today amidst all the church scandals, there would be no doubting that Father Logan is guilty of something, in any way, shape or form. When Ruth and Logan meet at the crime scene and she utters the words, “We’re free!”, you can’t help but think something really tawdry is going on between them. You even doubt Otto’s confession for a moment, thinking that perhaps there was some kind of twist and Father Logan had done something to Villette before Otto arrived and finished him off. It’s amazing how modern thinking and controversies can shape one’s opinion on a movie that was made almost 50 years ago!

Karl Malden and Anne BaxterBut despite all it’s flaws, I Confess is still a good, solid Hitchcock movie. The cinematography by Robert Burks and score by Dimitri Tiomkin (who both worked on several Hitchcock classics) only elevate it above the standards of a normal film. Also worth mentioning are the strong performances of Karl Malden (to be honest, he’s always good) and Brian Aherne as Willy Robertson, a friend to Ruth and her husband and the prosecutor who grills Father Logan during the trial.

In my opinion, I Confess is one of Hitchcock’s most personal movies. In later interviews, he felt that I Confess was a disappointment, possibly due to it’s not being well-received at the time of it’s release. During the early 50’s, Catholics were not well liked throughout England and perhaps Hitchcock took their refusal to see I Confess (as well as many of his other films from that era) personally. I will never get the notion of disliking someone because of their personal beliefs, unless that person is trying to shove it down your throat. Perhaps audiences felt that’s what Hitchcock was trying to do with I Confess–which he wasn’t. Hitchcock was merely trying to tell the story a wronged priest and with the exception of the opening scene, not once is Father Logan shown consoling other parishioners on the rights and wrongs of the world. He’s just another wronged man, made guilty in the eyes of others because of uncontrollable circumstances and his devotion to God. He could fit in right next to Cary Grant in North by Northwest or Henry Fonda in The Wrong Man. It’s an interesting twist to a standard mystery. Combine that with the outstanding performance put in by Montgomery Clift and that’s exactly why I Confess, despite some weak points, still manages to hold up today.

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Last night (this morning?), I wound up falling asleep in front of the tv while Equus was showing on TCM–not because I was bored, but because I was just flat out tired. I woke up in time to record Summer Wishes, Winter Dreams and since Alfred Hitchcock’s Shadow of a Doubt (1943) immediately followed it, I figured I’d watch it.

Joseph Cotten in Shadow of a DoubtShadow of a Doubt is my favorite Hitchcock movie, mainly because of the strong performances by Joseph Cotten (who was my first, big classic movie star obsession) and Teresa Wright*. If you’re a movie fan, classic or modern, you probably know the story: Uncle Charlie (Cotten) comes back to his old hometown of Santa Rosa to visit his sister and her family. There’s also “Little” Charlie (Wright), who loves and adores her Uncle. As the movie progresses, Charlie discovers that her beloved Uncle might not be what he seems to be–is he the notorious Merry Widow strangler that preys on old, rich women? Or is he an innocent man, wronged by the law?

I’ve seen this movie countless times and one scene in particular always catches my eye: it occurs in the garage, when Charlie is alone with Jack Graham (Macdonald Carey), a detective who was sent to Santa Rosa in search of Uncle Charlie.

Teresa Wright and Macdonald Carey in Shadow of a Doubt

In the scene, Graham asks Charlie if she’d be interested in pursing a relationship after the whole Merry Widow mess has passed over. Charlie doesn’t jump at the chance. If anything, she rejects him–she tells him she’d like to be friends though (a modern response in 1943!). While it’s not a flat out rejection, there’s certainly a sense of hesitation and even trepidation at the idea. Every time I talk about this scene, I like to imagine that Charlie is thinking, “Are you nuts? You’re thinking about romance at a time like THIS? My psychopathic uncle is on the loose and you’re thinking about ways of getting into my dress!” And how in the world would Charlie tell her kids about how they met? “I met your father when he was trying to arrest Uncle Charlie for strangling widows.” Yeah, that will go over really well.

What I always find odd about this scene is that, yes, Charlie does reject him. In most classic movies, the heroine immediately falls in love with the man who becomes her savior and right before “The End” pops up on the screen, you’re usually treated to a scene where the new couple get married or passionately embrace. Shadow of a Doubt is one movie that goes against the standard idea of Hollywood romance.

I’ve always felt that Teresa Wright was an odd leading lady for a Hitchcock film. She’s not sexy or dangerous like Ingrid Bergman in Notorious or a cool, detached blonde in the Grace Kelly vein. But that’s what makes Wright essential to the plot. She’s cute and all-American–the kind of girl you could bring home to meet your parents. Santa Rosa is the kind of town where you can imagine a girl like Charlie and her family living. Innocent, sweet suburbia where the biggest scandal might be a controversy at a pie-eating contest. By all means, Charlie is the type who should immediately fall in love at the drop of a hat. After all, that’s what happens to those girl-next-door types. They fall in love, get married and pop out some kids.

Teresa Wright in Shadow of a DoubtBut unlike other hometown girls, Charlie is now suddenly faced with the idea that her favorite Uncle (and one that she’s named after!) may be a murderous psychopath. She’s agitated–she asks her mother not to hum the “Merry Widow Waltz” because it bothers her so much. How can Charlie fall in love when a family member thinks that strangling rich, fat women is a good idea? Love pales in comparison to murder. Her whole world is shaken and nothing will ever be the same, even if Uncle Charlie is innocent. As he tells her, “I brought you nightmares…How do you know what the world is like? Do you know the world is a foul sty? Do you know, if you rip off the fronts of houses, you’d find swine? The world’s a hell. What does it matter what happens in it? Wake up, Charlie. Use your wits. Learn something.”

Thanks to Uncle Charlie, her brush with the darker side of life will always lurk in the back of her mind. Every time she thinks about her Uncle, Graham, the Merry Widow Waltz or even some of the various situations that are sprinkled throughout the film, Charlie will always be reminded of how much pain this whole situation brought into her life. In the garage scene, Graham is fully aware of this scenario but he can’t help himself: he tells Charlie that he loves her. And yet, she can’t reciprocate. She knows she likes him as a friend, but it’s just too soon to move forward romantically. There’s just too much going on in her mind.

Or is Charlie beginning to distrust the men in her life? Her father and next door neighbor, Herbie (played by Hume Cronyn) constantly play games of imaginary murder with one another. While this was humorous in the past, her sudden discovery of Uncle Charlie’s secret life now brings those innocent games into a sinister light. Who wants to joke about murderers and their evil ways when you have the real thing sitting right there in your living room?

And how does she know that Detective Graham can be trusted? After all, she trusted her Uncle and now her world is upside down. By posing as someone he’s not, Uncle Charlie has betrayed her and the family. He’s an impostor. How does she know that Graham isn’t an impostor as well? She’s only known him for a few days and his business revolves around murderers and criminals. He’s associated with the seedier side of life and while he doesn’t seem to be affected by it, can Charlie be assured of a good future with him? Thanks to her Uncle, she’s learned that you can know someone your entire life and not really know them at all.

the staircase scene

It’s ironic that it’s emerald ring that Uncle Charlie presents to Charlie at the beginning of the film, is what severs the final ties between them. As she comes down that staircase, ring on her finger and defiantly staring Uncle Charlie in the eye, he knows that his niece has had it with him (what else do you want after two murder attempts?). Charlie doesn’t want his help or his friendship–she just wants him out of her life forever. He has brought her nightmares, terrible ones at that, as well a permanent scarring for life. His secret will never be safe as long as Charlie is alive. She’s taken his advice, used her wits and learned something: that her once beloved Uncle is nothing to her anymore. The only reason Charlie is keeping quiet is because she doesn’t want to break her mother’s heart. Why should her life be ruined as well?

What I love about Shadow of a Doubt is the atmosphere of the entire film. The shattering of innocent suburbia as well as Charlie’s womanly awakening. She knows that everything is in life isn’t going to be wonderful and perfect like your parents or the movies want you to believe. Life is hell. There will be rough patches and everyone goes through tragedy at some point in their lives. But you have to adapt and find ways to survive because if you don’t, you’ll wind up at the lesser end of it all.

For most filmgoers, movies are a sense of escapism from real life. You want to see that happy ending, the girl getting her man or the innocent criminal being saved from the electric chair at the last second. Hitchcock brought the idea of small town tragedy and scandal to the screen in a beautifully sophisticated way. It’s a movie that delivers time after time not only in part to the writing and direction, but because of the characterizations brought forth by Joseph Cotten and Teresa Wright.

Speaking of which, I like to think that Teresa Wright’s portrayal of Charlie is one of the first modern feminist heroines to ever grace celluloid. She didn’t need Graham or anyone else to save her. No, thanks to Uncle Charlie and his dark view on life, all she needed was herself.

*Sadly, Wright never appeared in another Hitchcock production, but Cotten** appeared in one more–the 1949 period drama, Under Capricorn. According to his biography, Vanity Will Get You Somewhere, Cotten mentioned that he accidently called this film “Under Cornycrap” right to Hitchcock’s face and therefore, never worked in another of his films again. Oops.

**Also, it’s CottEn. Cotten. Not Cotton, like the fabric. There’s an E in his last name. It drives me nuts whenever I see it misspelled.

Note: Over on archive.org there are numerous pages for the old time radio show, Lux Radio Theater. Here is the page for the 1944 episode of Shadow of a Doubt, which features William Powell (who was rumored to be the original choice for Uncle Charlie!) and Teresa Wright.

Also, I should be getting my links sidebar up this weekend, but I wanted to post a link to this “Blog Carnival” that I’m participating in. It gathers up a bunch of different blog posts and lists them in one place. This week, I chose my “Dirty Dozen” post to be featured and the host of the blog also chose a great You Tube clip from the movie to go with it. Thanks!

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Oscar month on TCM is always a source of debate for devoted followers of the channel since Oscar month = More modern movies = More complaints. However, compared to years past, I think this years lineup is pretty damned good. The daytime hours consists of movies grouped together by theme, while the nighttime movies are lumped together by decade. It should also be of note that a good chunk of the movies shown during February may fall under the category of “One Time Leases”, which is great because they’re shown in the letterbox format instead of pan-and-scanned. Another site I read, Popdose, has five of their own selections. But here are mine:

Tuesday Feb. 19
9:30 pmDuel in the Sun (1946) – Selznick’s answer to Gone With the Wind, Western-style. Upon it’s release, it was deemed “racy”–no doubt in part to Jennifer Jones and Gregory Peck’s lusty, outlaw romance. There are some unintentional moments of hilarity thrown in for good measure. I won’t spoil it for you, but wait for the scene with Lionel Barrymore and Lililan Gish that comes nears the end of the movie. It’s tragically hilarious.

Thursday Feb. 21
5:45 pmKing Rat (1965)
I have never seen King Rat, so I’m hoping it’s good. However, I tend to enjoy war movies. This synopsis from the TCM guide: A U.S. officer in a World War II Japanese POW camp tries to raise money to buy his fellow prisoners’ freedom. I have high hopes for this one.

8:00 pmThe Dirty Dozen (1967)
10:45 pmThe Great Escape (1963)
The Dirty Dozen is one of my favorite movies of all time. I’m so thrilled to see it back on TCM, since it’s been on AMC for the last few months (which means no letterboxing and tons of commercials. UGH). I always take offense at the idea that this is just a movie for men. Pshaw. It’s funny, it’s action filled and it’s got great character development. What more could you want? The Dirty Dozen is a masterpiece. It’s funny and smart with a kick ass performance by Lee Marvin and directed by one of my favorites, Robert Aldrich.

Everyone knows what The Great Escape is about. The Simpsons spoofed it in the episode “A Streetcar Named Marge” (Two classic movie references for the price one, three if you include the Hitchcock “cameo” as well). But for me, the standout performance comes from Charles Bronson, “The Tunnel King”.

Saturday Feb. 23
5:45 amSummer Wishes, Winter Dreams (1973)
Another movie I haven’t seen, but has been VERY high on my must-see list. IT features the greatly underrated Joanne Woodward as a wife who goes through a midlife crisis and the even more underrated Martin Balsam as her husband. I’ve been dying to see this one. I’m hoping it doesn’t get taken off the schedule at the last minute.

7:30 am – 8:00 pm: Hitchcock movies all day long.
The majority have been off TCM for the past two years, but now a good portion of Alfred Hitchcock’s movies are back (they were last on in October 2005 when TCM devoted an entire week to his movies). The marathon kicks off with my personal Hitchcock favorite, Shadow of a Doubt (1943) with Joseph Cotten (love!) and Teresa Wright, and then is followed by Notorious at 9:30 am, The Man Who Knew Too Much at 11:15 am (it’s the 1956 version with James Stewart and Doris Day), North by Northwest at 1:30 pm (a TCM owned network staple), Psycho at 4:00 pm and finishing off with The Birds at 6:00 pm. Fantastic!

Sunday Feb 24.
5:45 pmAnnie (1982)
I needed to include this since Annie was a huge part of my childhood. I can’t tell you how many times I saw this when I was a child, but I remember loving it. I’ll be seeing this for the first time in about 20 years, so I can’t wait to see what I think of it now. I thought Carol Burnett’s character was funny, not a lush. See how innocent I used to be?

And veering off the TCM topic: today would have been Arthur Kennedy’s 94th birthday. Those of you who know me (even just slightly) know how much I love him. It’s a safe bet to say that he’s my favorite actor, even though he did mostly character work with one or two turns as a leading man. Still, it’s kind of disappointing to any classic movie fan who’s b-day falls in the months of February or August (Summer Under the Stars), since you know they won’t be getting a day long TCM birthday salute. And of course, Arthur Kennedy falls in that category.

One of my favorite Kennedy movies is Bend of the River (1952)–which also happens to be my favorite Stewart/Mann western. It’s the first one I saw and you always remember your first. One of my favorite scenes comes right after the start of the bar brawl, where Rock Hudson, Kennedy and Stewart start slowly backing out of the bar…

bendoftheriver.jpg

It’s just a great scene. And according to his biography, Arthur Kennedy: Man of Characters, it was one of his favorite movies as well. I have to admit one of my other favorite scenes comes right after Julie Adams tries to pull a gun on him and Kennedy says with a twisted, mischievous grin, “I like a woman who’s not afraid to kill”. This–I have to say–is kinda hot.

Oh stop looking at me like that.

Anyway, Happy Birthday to one of the greatest, 5 time Oscar nominated character actors to ever grace the silver screen.

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