This is a middle-tier Hitchcock entry—neither a probing examination of marriage nor a brooding thriller wrapped in social commentary. The mystery simmers and simmers, then fizzles. The romantic elements are shallow while the ending makes the mounting suspense feel aimless in hindsight. Hitchcock certainly has a way with mise en scene, especially with interior sets.
Yeah, the ending might not be what Hitch (and everyone) wanted, but it's pretty effective. Just like in "The Lodger", nothing is really solved, we're still doubtful after the final scene. Also, loved that glass of milk.
It's a shame that sometimes Hitchcock's earliest films are overshadowed by the most popular ones. From all of his films I've watched this is definitely my favourite. It's constantly between happiness and despair, clarity and suspicion, and the audience really feels a part of the story. Hitchcock gives us space to take our conclusions but at the same time always living us in doubt. And Cary Grant feeds the suspanse!
3.5/5. Usual Hitchcock's material : the beauty of troubled women, between fantasy and insecurity, romance and fear, closest to Marnie (shy woman with family issues). Hitchcock made a deep psychological love story between two difficult person in marriage but can't deny that the original story seems more pretty interesting issue to see, an irony that can be the best film about marriage.
First Fontaine abruptly falls in love with Grant, then the sudden ending. The plot doesn't exactly flow as smoothly as I would have liked. Feels like it could have been much better. Lead characters are great surely. Can't help loving Joan Fontaine and Cary Grant seems simple but capable of anything.
The ending is what it is (and I'd hereby like to stick my tongue out at all those people who think the Production Code was good for the movies, because it forced creative/"artistic" compromises...this film pretty much blows that theory to bits). I love that everything feels like some radio melodrama...its all very lush and romantic.