If you didn’t know and were asked to guess Alfred Hitchcock’s favourite movie from his own filmography, I would think most people would probably select something from his Golden Age – ranging from the 50s and into the early 60s (think Dial M for Murder, Rear Window, To Catch a Thief, Vertigo, North by Northwest, Psycho, and The Birds), or you might pick one of his two most iconic British films – The 39 Steps or The Lady Vanishes, then again, his first film in the United States (Rebecca) was his only Best Picture win at the Academy Awards. . . or maybe it was his long awaited return to the UK after thirty-two years away – making the under seen Frenzy your selection. Perhaps it was one of his technical marvels. . . Lifeboat, set entirely in the film’s titular object, or Rope, which was shot to look like one long take (and was itself set in a singular location). By now, you’ve probably guessed that it is none of these films, but rather, the 1943 motion picture Shadow of a Doubt – in part, due to the fact that he loved the idea of bringing menace to a small town.
Funnily enough, I experienced this film’s loose remake, Chan-wook Park’s English language debut – Stoker, prior to this original version (which is something rare for me). And I must say, I appreciate both even more-so now. . . for it is a revelation to see a remake that is not just a carbon copy of the original. A story of the ‘double’, teenager Charlie Newton (Teresa Wright) lives a normal life with her family on the west coast. . . her father, Joseph (Henry Travers – everyone’s favourite guardian angel from It’s a Wonderful Life), is a banker, her mother, Emma (Patricia Collinge), a homemaker, her younger sister, Ann (Edna May Wonacott – absolutely endearing in the role), a fervid reader, and even younger brother, Roger (Charles Bates), is just as sharp as his two older siblings. . . very unlike her beloved Uncle Charlie (Joseph Cotten), a mysteriously wealthy east coast living businessman.
Two sides of the same coin, they are a mirror image of each other. Both have a certain magnetism. . . positive and negative forces drawing these two together – their lives never to be the same afterward. The younger namesake a sharp yet secretive young woman blossoming into her own, she is strong willed, feisty, and fiercely stubborn. . . while her wily Uncle has that mysterious bad-boy quality – flirtatious charm lingering on phony flattery (that people just sop up), charisma that draws every woman, young and old, to him, and an element of the strong silent type. Not one to visit often, this surprising drop-in means that not only the family, but also the town (where not too much exciting ever happens), is excited by this most unexpected arrival.
Soon, Uncle Charlie is investing large sums of money with the bank, making hefty donations to certain charities, and being asked to give speeches to different women’s clubs. . . ingratiating himself to the community. Yet, we also notice a certain darkness within him. It does not take long for a pair of detectives to pay him a visit (disguised as national survey takers – looking for the prototypical American family. . . I’m quite sure they’ve found the opposite), snooping around into the life of Uncle Charlie. We quickly learn that he is one of two (there’s that ‘double’ again) people being hunted for being the ‘Merry Widow Murderer’. . . a sadistic killer who woos rich widowed women, stealing all of their goods and money after he kills them. But could this really be their beloved Uncle Charlie? Should his business be named ‘Bluebeard Industries’? Or is this all a big misunderstanding?
Like Narcissus gazing at his own reflection in a calm pool of water, there is a most bizarre infatuation between the two Charlies. Nearly joined at the hip upon his arrival, young Charlie believes she is so very like her Uncle, while her mother’s younger brother is quite sure he sees a kindred spirit in his niece. A chemistry unlike anything ever seen, it is not only a mutual respect through seeming similarity, but also a deep affection that often lingers on love. . . not that between family, but rather the love at first sight found before a burgeoning relationship. Of course, all of this is done in a very subtle and clever way by The Master of Suspense. . . building a most unusual relationship between the two before young Charlie starts to discover what she believes to be some dark secrets about her illusive Uncle. In fact, in many ways, Uncle Charlie is tied to the vampire – look for multiple connections and winks to the Dracula story (including when he says, “The same blood runs through my veins” – a quote directly from the famed horror story).
Done with the utmost care by Hitch and his team, expect to see cinematography that is like the most beautiful translucent wallpaper (by Joseph A. Valentine – Rope) – stunning in every single scene, as well as that classic Hitchcockian British deadpan humour – running through the piece, much of it comes from Joseph and his best friend, Herbie Hawkins (Hume Cronyn), who discuss, in a most serious fashion, the best possible way to kill each other – as they are both avid murder mystery readers (talk about a wickedly dark sense of humour), and an entertainingly over the top score from Dimitri Tiomkin (High Noon; Dial M for Murder) – perfectly encapsulating the darkness being brought to this safe and quiet locale. . . much like the excessive black smoke spouting from the train bringing Uncle Charlie to the west coast (keep an eye open for Hitchcock’s difficult to spot cameo on this very train – his profile can be seen while playing cards. . . he has quite the hand). And, for those of you wondering what the waltz is that they keep humming (much to the chagrin of a few characters). . . it is called “The Merry Widow” – talk about perfection.
A masterful and slightly lesser known work from Alfred Hitchcock, there isn’t a Shadow of a Doubt that this should be right up there with the rest of his classics – for it features everything you could want from one of his films – a thrilling story, multiple psychological layers, superb performances, his renowned visual mastery, and so much more. A funny note worth mentioning: Hitch sent his team out to look for the perfect location for the family home – something nice but worn down (that would suit their middle class life). . . finding the perfect on-location house (in Santa Rosa, California) – well built with plenty of charm inside and out, it was also perfect in that it was in need of repairs, had an overgrown lawn, as well as faded/chipped exterior paint – exactly what the director was looking for. Renting it from the owners, the only problem – they were so proud their house was going to be in a Hitchcock movie, they fixed up all of the problems so it looked perfect. . . forcing them to artificially age the home and grounds. So, grab a firm hold as you board this train to terror, you’ll be a good-time Charlie after seeing it. . . or I’m a monkey’s Uncle.