tag:blogger.com,1999:blog-5344878851139332715.post2458696308179547038..comments2024-03-08T18:49:51.289-05:00Comments on Classic Film and TV Café: Dial H For Hitchcock: "Shadow of a Doubt" - Norman Rockwell with a Twist in Hitchcock's AmericaRick29http://www.blogger.com/profile/08358116647815569722noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-5344878851139332715.post-43331175067033651462010-01-16T12:43:52.407-05:002010-01-16T12:43:52.407-05:00The last time I watched Shadow of a Doubt, I made ...The last time I watched Shadow of a Doubt, I made a point of trying to watch it as if for the first time and could imagine the jolt the audience would experience, as did Charlie, when the grim headline flashes. And I could particularly imagine the tension that would develop in the viewer as it becomes clear that Uncle Charlie is out to kill her. Joseph Cotten does such a good job as the suave killer and the plot advances in such a way that I imagine audiences sighed a great sigh of relief when Uncle Charlie finally fell in in the path of an oncoming train.The Lady Evehttps://www.blogger.com/profile/11963115499930520653noreply@blogger.comtag:blogger.com,1999:blog-5344878851139332715.post-82870792758811241012010-01-12T20:30:54.349-05:002010-01-12T20:30:54.349-05:00Yes, it's clear during the bar scene that Char...Yes, it's clear during the bar scene that Charles is the killer--hence, SHADOWS foreshadows VERTIGO by turning the film into a cat-and-mouse game. Also, I love how Hitchcock uses humor in his films. Herb and Charlie's father are a prime example, as is the amusing friendship between Ann and Saunders. But it's the unexpected humor I like best. A perfect example is when Charles gives his horrible anti-woman, "world is a foul sty" speech--and when he's done, his sister comments that she hopes he doesn't talk about that to her ladies' club! It's a natural comment, but also very funny.Rick29https://www.blogger.com/profile/08358116647815569722noreply@blogger.comtag:blogger.com,1999:blog-5344878851139332715.post-31391040533055688012010-01-12T11:16:10.936-05:002010-01-12T11:16:10.936-05:00The problem I have with Suspicion is that it's...The problem I have with Suspicion is that it's pretty clear that the ending was changed so it doesn't play for me. In Shadow of a Doubt, when Charlie and her Uncle have their confrontation in the bar, he basically confesses to her, so even the most trusting viewer ought to figure it out by then. The "guilty or not" angle might make for a good blog one day, Rick.The Lady Evehttps://www.blogger.com/profile/11963115499930520653noreply@blogger.comtag:blogger.com,1999:blog-5344878851139332715.post-34075785065630721132010-01-12T07:44:00.843-05:002010-01-12T07:44:00.843-05:00Oh, you're right the similar shot of the key i...Oh, you're right the similar shot of the key in NOTORIOUS; I hadn't thought of that! The newspaper headline shot didn't quite work for me. I think that's because I knew Uncle Charles was guilty because I'd seen the movie before. It would be interesting to watch SHADOW OF A DOUBT with someone who knows nothing about it. At what point in the film would they decide definitively that Charles was guilty? Yes, he's running from two men at the beginning for some reason. And he acts suspicious on multiple occasions, but there could be plausible explanations for his actions...really up until Charlie reads the initials on the ring. It's interesting to contrast SHADOW with SUSPICION and VERTIGO (and to a lesser degree, maybe THE PARADINE CASE). All three films require the viewer to decide if a character is guilty of a crime. SUSPICION holds its cards close until the film's climax (but I don't think works very well). SHADOW and VERTIGO both reveal the secret at around the mid-point of the film, which--for me--makes them both infinitely more intriguing. (BTW, a non-Hitchcock that works the "is she guilty or not" angle very well is MY COUSIN RACHEL).Rick29https://www.blogger.com/profile/08358116647815569722noreply@blogger.comtag:blogger.com,1999:blog-5344878851139332715.post-84466231279026114732010-01-12T01:18:19.890-05:002010-01-12T01:18:19.890-05:00Yes. And in a scene a bit later, after Jack takes ...Yes. And in a scene a bit later, after Jack takes her home and she goes to the library, we get to experience Charlie's next shock - the newspaper story. The music comes up, slightly reminiscent of the music/sounds in Psycho, when the headline flashes on screen. Then a grotesque version of "The Merry Widow Waltz" plays as she reads the story and everything sinks in. Very effective. And about techniques that became trademarks - the scene when Charlie comes down the staircase wearing the emerald ring and the camera zooms in to a closeup on the ring brings to mind Notorious and the scene in which Alicia has a key in her hand... possibly his most famous use of that kind of shot.The Lady Evehttps://www.blogger.com/profile/11963115499930520653noreply@blogger.comtag:blogger.com,1999:blog-5344878851139332715.post-70272910806468728462010-01-12T00:26:48.632-05:002010-01-12T00:26:48.632-05:00That's an awesome set of two's, Eve! I als...That's an awesome set of two's, Eve! I also like how SHADOW employs techniques Hitch used in earlier films and would continue to use in future ones. The dinner scenes, particularly the one where Charlie is trying to remember the name of the waltz, reminded me of the family meal scene in Hitch's earlier YOUNG AND INNOCENT. In both cases, one person at the dinner table becomes gradually more agitated--while everyone else is oblivous to what's going on. As for future techniques, the use of shock scenes would become a staple in Hitch pics (e.g., the shower scene in PSYCHO, the gas station attack in THE BIRDS). He creates shock in an interesting way in SHADOW; he uses an abrupt cut between scenes. I'm referring to where Charlie and Jack are on their first "date." They are walking along and laughing, then Hitch cuts quickly to a shot of Charlie alone--a look of horror on her face--and the camera pulls back to show Jack. We suddenly realize that Jack has told Charlie about his suspicions regarding Uncle Charles. It's a jarring transition between the two scenes, emphasizing the impact of what Charlie has learned.Rick29https://www.blogger.com/profile/08358116647815569722noreply@blogger.comtag:blogger.com,1999:blog-5344878851139332715.post-42409755199661064452010-01-12T00:09:51.148-05:002010-01-12T00:09:51.148-05:00I thought I'd jump and and acknowledge these g...I thought I'd jump and and acknowledge these great comments. Dawn, I also really enjoy the scenes with Hume Cronyn as Herbie - one of his best is his briefest, when Charlie acknowledges that he saved her life - his reaction reveals so much of who he is in just a facial expression and a turn of the head. Toto, you picked up on many pairs in the film (there are lots) and Hitchcock's doppelganger themes in several movies. Kim, Jos. Cotten's is one of the best portrayals of a villain on film, I think, worthy of an Oscar. He plays Uncle Charlie so very smooth and yet so deadly. And Rick, you pointed out some excellent "twin" scenes, some of the most dramatic and visually interesting...here are a few more "two" and "twin" touches...the bar was called "Til-Two," there were two detectives trailing Charlie in the east and two in Santa Rosa, Uncle Charlie goes on two seriously misanthropic rants (one at the dinner table about "silly wives" and one at the bar about the world being a "foul sty"), two scenes in the garage, two at the church, two at the train station and two on board, there are two sets of initials on the emerald ring...and check out young Charlie's clothes - when she goes to the telegraph office she's wearing a coat with two huge buttons on the lapel and when she goes to the library she's wearing a dress with two large bird-shaped broaches on the shoulder...Shadow of a Doubt is one fascinating movie, with so many layers (more than two)...The Lady Evehttps://www.blogger.com/profile/11963115499930520653noreply@blogger.comtag:blogger.com,1999:blog-5344878851139332715.post-3152637794712660472010-01-11T19:43:20.453-05:002010-01-11T19:43:20.453-05:00Eve, reference the “twins” theme, I love how Hitch...Eve, reference the “twins” theme, I love how Hitchcock visually makes a connection between Charlie and Uncle Charlie even when they’re not in a scene together. In the film’s opening, when we first see Uncle Charlie, he’s laying out on a bed in the hotel room. Likewise, later when we first meet Charlie, she’s sprawled out on a bed, too, in her bedroom. They’re frequently framed together when things are going well between them. However, that changes once Charlie learns the truth. One of the most striking images in the film is when Uncle Charlie heads up the stairs happily (thinking he’s off the hook ) and looks back to see Charlie—looking dead serious—framed in the front doorway. Later, there’s a reversal of that shot with Charlie (in the front yard) looking at Uncle Charlie framed in the doorway of the house. In both scenes, Hitch frames the characters dramatically to show their isolation from each other. By the way, Toto, you made some outstanding observations on other pairings! And Kim, the two types of mysteries are another intriguing pair as well.Rick29https://www.blogger.com/profile/08358116647815569722noreply@blogger.comtag:blogger.com,1999:blog-5344878851139332715.post-72557073865724823452010-01-11T19:18:42.184-05:002010-01-11T19:18:42.184-05:00Great review, Ladyeve. For me, Joseph Cotton is th...Great review, Ladyeve. For me, Joseph Cotton is the standout performer in this film. At one moment he seems like the most congenial man and then the next he exudes malice. I think Teresa Wrigt fed off Cotton in their scenes together, and this made them the best part of the film. Plus, you're right about the two theme that Hitchcock used here: with the two Charlies and the two murder/mysteries that are taking place--one real-life and the other fictional as dicussed by Henry and Joe.Kimberly J.M. Wilsonhttps://www.blogger.com/profile/09078951928157843937noreply@blogger.comtag:blogger.com,1999:blog-5344878851139332715.post-81995592812031986952010-01-11T15:55:15.226-05:002010-01-11T15:55:15.226-05:00Eve, this was an exceptional review! I like how yo...Eve, this was an exceptional review! I like how you paired the slice of Norman Rockwell with the slice of Santa Rosa. You paired the sisters brilliantly in our Underrated Performer article. I paired the trains in my comment to your Underrated post. Other pairings include brother Charlie and sister Emma, the front and back staircases, and real detective Jack and armchair detective Herbie (ironically it is the armchair detective who saves Charlie's life). Hitchcock employs the doppelganger theme again in "Strangers on a Train," "Vertigo," and "Psycho." <br /><br />I think the ensemble cast is quite believable. When I watch a movie and cease noticing the actor and become immersed in the character I tend to truly enjoy the performance most. Thank you for your remarkable post!toto2https://www.blogger.com/profile/09652682900471649463noreply@blogger.comtag:blogger.com,1999:blog-5344878851139332715.post-19598679753712895132010-01-11T11:27:57.645-05:002010-01-11T11:27:57.645-05:00Ladyeve, I want to first say I loved your review. ...Ladyeve, I want to first say I loved your review. Loved how you compare the pictures of a wholesome, middle American values. With the films contrast of dark secrets hidden within a family. My favorite scenes is with the nerdy neighbor, who visits around dinner time, to talk about how he would plot a murder over the dinner table....My mother would not allow that type of discussion around our dinner table.. :)Dawnhttps://www.blogger.com/profile/03476174860119487509noreply@blogger.com