![]() ![]() ![]() Charlotte, played by the sweet and talented Teresa Wright, nicknamed Charlie after her mother's brother but will be called Charlotte in this review for clarity's sake, doesn't feel exactly like a fish in water. If the sleepy little town could appeal to any outsider in quest of peace, some insiders would have a much different opinion. The town also neighbored some famous Californian vineyards, which made the shooting all the more interesting for Hitch and all. Townspeople know each other by first name, from the priest to the brave overweight traffic cop. The privilege went to Santa Rosa, a postcard little town of old fashion charm, with an obligatory library, train station, bank, all in one copy. So sentimentality was a prevalent element of Hitch' premiere in America, he wanted the most American-looking location, one you couldn't tell in which state it was. And the word 'sentimental' is crucial as the underlying theme of "Shadow of a Doubt", is "when idealization meets deception" and we idealize a big deal in the name of sentimentality. And if I'm not sure that he held the film in higher regards than some later classics, I'm pretty sure though that the film was a sentimental favorite. “The film where Hitchcock first discovered America."Shadow of a Doubt" was pivotal in Hitchcock's career as the first movie set in directors' Promised Land: America. “Hitchcock is perverse enough to suggest that the murderer’s bitter clarity is in greater touch with life than is the feeble virtue of the town’s residents.” “Hitchcock's first indisputable masterpiece.” ![]() With support from the Robert Jolin Osborne Fund for American Classic Cinema of the 1930s, ‘40s, and ‘50s. LOUIS), and Hitchcock’s wife (and closest collaborator) Alma Reville. Starring Joseph Cotten, Teresa Wright, Henry Travers, Macdonald Carey, Patricia CollingeĪs wealthy widows keep disappearing, victims of the so-called “Merry Widow Murderer,” Joseph Cotten's lovable Uncle Charlie visits niece Teresa Wright in her average American town – a cozy family scene, until he’s heard whistling “The Merry Widow Waltz.” Often claimed as Hitchcock’s own favorite, this is perhaps his ultimate evocation of evil nesting among the mundane (and, along with PSYCHO, only one of two Hitchcocks with a villain as central character), with authentic Americana provided by screenwriters Thornton Wilder (OUR TOWN), Sally Benson (MEET ME IN ST. ![]()
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