Shadow of a Doubt
Psychological and character driven, watch it for Joseph Cotten, who was note perfect as the suave but diabolical Uncle Charlie. I love how the train he rides into town on, billows out thick black smoke from its stack, as if it's bringing something evil. But the opening sequence overall is a masterclass in choreographing scenes, in world building, in the importance of setting the table. For example - The credits roll as couples dance (a sound and visual motif that pops up here and there), which takes us not to a thriving city, but to the places where the homeless dwell -- That will later contrast to the perfect, idealized American town, with a smiling cop directing traffic. From a cheery, chattering wholesome family, to Uncle Charlie sitting alone in a dark room, his mind a little scattered... but sharp enough - and from the start we are shown that he's a parasite, he gets everyone to cater to him, nurse him on the train, carry his bags afterwards... and it's all accompanied by this Dimitri Tiomkin score that could fit right in with any old Andy Hardy flick.... which continues throughout, a bit overcooked and soap opera-ish in spots - so far removed from Bernard Herrmann's surreal, haunting compositions that suited Hitchcock best, but so right for what the director was serving up here. It's chiaroscuro in all phases, score to photography to tone. (Teresa Wrights the perfect contrast to Cotten, sweet to his sour - but when it all comes crashing down, and the ugly world intrudes on her ordinary life - then it becomes a face-off, and here she shows some steel)
While the character of the detective was a bit weak - there is so much to admire and enjoy. Critic Dave Kehr said summed it up nicely when he wrote… “Hitchcock's discovery of darkness within the heart of small-town America remains one of his most harrowing films, a peek behind the facade of security that reveals loneliness, despair, and death. Thornton Wilder collaborated on the script; it's Our Town turned inside out.”
And along with that, Alfred throws in splashes of black humor throughout.
Memorable Scenes: The Charlies, one at the top of the stairs, with concern on his face, looking down at the other, framed by the door, looking cool as a cucumber and unaware of what's going on in that sick mind of his - The camera zeroes in on the ring - The train bringing Uncle Charlie to town billows out thick black smoke - Joseph Cotten speaks of his hatred for rich single women, his niece Charlie argues that they are people like everyone else. Cotten turns, looks directly into the camera and replies chillingly... "Are they?"
Memorable Quote: "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." - Joseph Cotten as Uncle Charlie
Hitchcock Cameo: 14 minutes into the film he can be seen on the train playing bridge with a man and a woman.
Of Note: Playwright David Mamet calls it Hitchcock's finest. Alfred sometimes told interviewers that it was his personal favorite among his American films.
