Otto Kellar and his wife Alma work as caretaker and housekeeper at a Catholic church in Quebec. Whilst robbing a house where he sometimes works as a gardener, Otto is caught and kills the owner. Racked with guilt he heads back to the church where Father Michael Logan is working late. Otto confesses his crime, but when the police begin to suspect Father Logan he cannot reveal what he has been told in the confession. —IMDb
Alfred Hitchcock has been the most well-known director to the general public since the 1940s – and he remains so in the 21st century, more than 25 years after his death. His name evokes instant expectations on the part of audiences around the world: of a memorable night of movie-watching highlighted by at least two or three great chills (and a few more good ones), some striking black comedy, and an eccentric characterization or two in virtually every one of the director’s movies across a half-century – and usually laced with a comical cameo appearance by the director himself.
Alfred Joseph Hitchcock was born into a devoutly Catholic family in London, and his religious upbringing – with its attendant issues of guilt – would have a powerful influence on the psychological underpinnings of his later work. He was trained at a technical school, and initially gravitated to movies through art courses and advertising. He studied the work of other filmmakers, most notably the German expressionists… read more
elle est mon amie, Aud, elle était malade et je l'a taggée dans les films qui nous avons vu ensemble à la cinémathèque Portugaise et dans les films qui me font penser à elle, tu sais? on se connais depuis un bon moment, j'ai même fait une liste comme une hommage, mais ça a servi a rien, elle ne l'a même pas devenu Fan d'elle. a quoi bon? bah.
This film is beautiful to look at: shadowing, angles, symbolism, and more importantly it gives us a different look at Mr. Hitchcock himself. A very serious spiritual film that contains wonderful performances, not just Clift's. I did think the film would go in a different direction, and from what I have read Hitch tried to but was restricted by outside pressures. It is a testament to his creativity that he fashioned such a wonderful film under such constraints. This is especially true of the ending which was very satisfying to me. With the possible exception of Vertigo, this may be Hitch's most personal film. It is absolutely a very interesting one. One that I highly recommend.