Shadow Of A Doubt (1943 film)

In one of those moments inspired by a transient piece of social media information, I decided to give a watch to Shadow Of A Doubt, Alfred Hitchcock's 1943 thriller/film noir, which stars Teresa Wright and Joseph Cotten.

The plot centres on a visit by Oakley (Joseph Cotten) to the family of his sister, a family which includes his niece, the young Charlotte (Teresa Wright), who rather idolizes her uncle. It soon emerges, however, that Oakley is harbouring some very dark secrets.

One of the first things which I noticed about this picture was the meticulousness of the narrative, and the care taken to build and develop the suspense. Quite apart from this, the characterizations, including the Newton household, and even the relatively minor players, ensure that this film holds the interest, almost independently of the central direction of the story line.

Some elements which seem destined to be pivotal to the story are relatively peripheral, whilst those who look like classic red herrings end up being influential to how things turn out.  Part of the appeal and the energy of Shadow Of A Doubt, as with other Hitchcock works, is the masterly way in which we are kept guessing and wondering. Clearly the viewer knows that something is likely to be amiss, and the portentous atmosphere early on in the film contributes to this mindset.

Joseph Cotten is excellent as the suave, but manipulative and cynical Oakley.  Soon after his arrival at the Newton residence he is affable, and the sudden arrival of his sinister side, and the dissolving of the earlier jollity and levity, is disconcerting but absorbing to behold. Teresa Wright is a delight as Charlotte, who has to cope with many of her illusions being shattered.

In general, the movie has a wonderfully "organic" quality which it shares with many of the classic black and white films of that period. The period fashions and stylings are also highly appealing. My one gripe is the background music, which occasionally intrudes unnecessarily, but I guess this was a trait common to many pictures of those days.

Shadow Of A Doubt is a movie which demands very close attention, as it is easy to miss snippets of dialogue, or "clues", which will enhance one's understanding of the story.  It is a highly enjoyable and rewarding film to see.  The ending is also quite something!

The Third Man - movie review

I am currently on another of my periodic campaigns to watch some of those films which, for one reason or another, have passed me by over the years. Until yesterday, one such movie was The Third Man, the 1949 Carol Reed thriller, with a screenplay by Graham Greene. I wasn't previously aware that Greene's screenplay actually preceded the publication of his novella of the same name.

The film is set in post-World War Two Vienna, and centres on a trip to the city made by an American author, Holly Martins, played by Joseph Cotten. He is seeking to renew acquaintance with his friend Harry Lime (Orson Welles). Upon arriving in Vienna, Martins is informed of Lime's death. The remainder of the story addresses Martins' inquiries, revelations concerning Lime's involvement in racketeering, and the revelation that his death had been "faked", culminating in his actual demise in the exciting final scene in Vienna's subterranean sewers.

In the early scenes of the film, much effort is made to project the atmosphere of post-war Vienna. Cosmopolitan, edgy, uncertain, oppressive. The black and white helps to project the austere, gloomy times. One has to wonder if The Third Man would have had the same power if it had been produced in later years in colour. Very few of the scenes take place in daylight, adding to the ominous and insidious feel. Excellent use is also made of the architecture and landmarks of Vienna to generate powerful imagery and metaphors.

As we meet some of the characters, there is a growing sense of a people numbed by war and its aftermath, but still coping. Mistrust and fear seem to be the dominant emotions, with people constantly unsure whether they are being manipulated or exploited. Loyalties and personal morality are tested to their limits, as everyone concentrates on survival.

Probably the most memorable scene in the film is the one where Harry Lime reappears, having previously been presumed dead. The enigmatic expression on Orson Welles' face is the thing which makes it so potent. Welles has comparatively little screen-time, but his charisma dominates the closing stages of The Third Man.

When watching the movie, I pondered whether Harry Lime was a product of the times. He was unscrupulous and cynical, but at the same time insecure. All of these qualities are on display during the iconic scene on the Ferris wheel.

Mention should also be made of the performances of Alida Valli, Trevor Howard and Bernard Lee. Valli is particularly impressive as Anna Schimdt, the subject of much agonising by both Martins and Lime.

In the final analysis, I think that as well as being a superb film noir, The Third Man is all about loyalty and morality, and the examination of these things in extreme circumstances. I am very glad that I made the effort to watch it!