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"I Confess" is one of Alfred Hitchcock's least famous films, and it's easy to see why: there is no mystery (we know who the killer is right from the start); there is some suspense but no major set-pieces; there is very little humor (no Cary Grant-type wisecracks here). The movie is a somber psychological drama, and the story of a forbidden love, and perhaps a Christ allegory (the priest has to suffer for another man's sins - he has to bear his own cross). I wouldn't rank it among Hitchcock's best, but it certainly has some of the best acting you can find in a Hitchcock film: Montgomery Clift is superb in a difficult role, Anne Baxter is warm and utterly believable as the woman who is consumed by her love for him, and Karl Malden is perfectly cast as the nosy (no pun intended) inspector on the case. (**1/2)

I could follow the film just by looking into Montgomery Clift's extraordinary face. Look at his reaction to the confession. Clift's eyes are a symphony of emotions with him doing nothing. Powerful, brilliant, unforgettable. I forgot it was a Hitchcock film not matter how suspenseful it is, and it is, because Clift's internal torture is so pungent. Dimitri Tiomkin's score, terrific as it is, pushes us away from Hitchcock's territory. What I'm saying is that is not Bernard Herrmann.

A blonde Anne Baxter, an intense Karl Malden, and a delightful Brian Aherne keeps us a bit dislocated. The conclusion, framed by faces reacting to Clift's secret is a powerful and totally satisfying ending.

"I Confess" is a strong candidate for Hitchcock's most forgotten film. It never gets mentioned in any Hitchcock documentaries or when discussing about his movies. The film doesn't offer the usual amount of excitement or thrilling entertainment than his better known ones ("North by Northwest", for instance). In fact, there isn't much of "real" suspense at all, but well-sketched characters, fine acting performances, and captivating plot development are more than compensating matters.

"I Confess" is a very interesting piece of film making and should be viewed by any Hitchcock fan.

I Confess's story takes place in Quebec City, Canada is adapted from the French story Nos Deux Consciences. And the whole thing is about a priest's conscience. Does he keep his vows even at the cost of his own freedom and maybe his life, certainly his reputation.

That is what Montgomery Clift is faced with. German actor O.E. Hasse who Clift worked with on The Big Lift is the caretaker of a church where Clift is assigned. He takes the priest's garments and commits murder in them. And then offers confession to Clift. Clift knows the murder victim as well and could have his own reason for doing him harm. Of course police detective Karl Malden suspects him.

How this all gets resolved is the plot of the story. But let me give you a hint. The title of the original story is Our Two Consciences. And the consciences referred to are Monty Clift's and someone else's.

Clift and the rest of the cast do a fine job in this minor Alfred Hitchcock film. But the acting honors in this go to O.E. Hasse, an really oily malevolent villain who is enjoying the predicament he's put the priest in. You won't forget him.

Fans of Hitchcock and Clift will be entertained and others will enjoy it as well.

An Alfred Hitchcock film with very little action or suspense, this moral issue- drama still maintains interest for the most part. Montgomery Clift is intriguing as "Father William Logan," a Catholic priest from Quebec who hears a murder confession, is charged with the crime himself, and never wavers from his vow to keep confessions private.

The question Hitchcock apparently poses with this is is, "Is that still morally right when it means you leave a killer out on the loose?"

Complicating the matter is an old girlfriend, played by Anne Baxter, who still loves the priest. However, once again the cleric remains true to his vows and doesn't get involved with her.

Karl Malden, meanwhile, plays a gung-ho cop out to solve the crime.

This movie could use a little more suspense and action, plus a bit of the old Hitchcock humor, but still is more than passable.

"I Confess" is the most under exposed/appreciated/rated of Hitchcock's films. It is as convincing (except for the minimal flashbacks) as "Shadow of a Doubt" in terms of both its art and its reality. Its mise en scene captures Quebec City, its specifically Catholic culture, its history, its moral dramas, and its character types. I think Clift and Baxter are perfectly cast, as are Aherne and Maldon. Keller and Alma truly hit home as Catholic parish staff and carry effectively much of the drama and suspense of this true Hitch sleeper, which is also a memorable romance. (There is indeed a great deal of genuine emotion and deep feeling in this very ordinary and convincing world).

Entertaining suspense movie packs thrills ,intrigue , tension and ordinary Hitch touches . Indispensable seeing this quintessential Hitch movie , demanding various viewings . Classic and haunting suspense by the master himself , Hitchcock , dealing with tragic events when a priest (Montgomery Clift) takes confession from a man who coincidentally killed a blackmailer who he knew of pre-vows relationship with a married woman (Anne Baxter). Refusing to give into police investigators' questions of suspicion, due to the seal of confession, the Father becomes the prime suspect in a murder. The murderer is called Otto Kellar (O.E.Hasse) and his wife Alma (Dolly Haas) work as caretaker and housekeeper at a Catholic church in Quebec . Meanwhile , the priest named Fr. Michael Logan walking through the town, passes in front of a cinema showing ¨The enforcer¨.

Interesting Hitch film shot in Canada's colorful Quebec by Warner Bros , being based on the 1902 play "Nos Deux consciences" by Paul Anthelme, but little is known about any production of the play. However , in the original play, the priest was hanged ; this scene had to be eliminated and replaced with another scene to avoid the wrath of the censor. Alfred Hitchcock's films have become famous for a number of elements and iconography : innocent men wrongfully accused, blonde women , long non-dialogue sequences, etc . Hitch apparently decided to leave this movie location unspecific and without recognizable landmarks and filmed it in the city of Quebec . In spite of some shortcoming , this is the picture that best reflects many of Hitchcock's puritanical ethics . Hitch plays on the senses and keeps the suspense and action in feverish pitch . All the elements for a suspenseful evening are in place and things move at an intelligent pace . The story is typical Hitch fare , an issue of wrong accusation , dual guilt , and treason that embroils a man in murder . Hitch had two of most charming actors of all Hollywood as Montgomery Clift and Anne Baxter . As a pretty good acting by Montgomery Clift as a priest falsely framed of killing and Anne Baxter as his old friend who cannot handle the situation wrought in her life by the gross injustice . Montgomery Clift drank during the shooting and his eyes appear glazed during the ferry scene , Hitchcock was a very non-confrontational director and delegated an assistant director and Karl Malden to talk to the actor about it . Supporting cast is frankly excellent such as Karl Malden as Inspector Larrue , Brian Aherne as prosecutor Willy Robertson , O.E. Hasse as Otto Keller , Roger Dann as Pierre Grandfort and Dolly Haas played Alma Keller in this film ; Haas was selected to play "Alma" Keller, because of her physical resemblance to Hitchcock's wife Alma Reville . As usual , Hitch's cameo as man walking , as he is uncredited crossing the Top of Long Staircase . Atmospheric and moody cinematography in evocative style by Robert Burks , Hitch's ordinary . Very good sets and production design by Haworth and Beckman . Riveting and thrilling musical score by classic Dimitri Tiomkin .

The motion picture was well directed by Alfred Hitchcock , he was famous for making his actors follow the script to the word, but in this movie the Hitch's method filmmaking clashing with Clift's method interpretation and the result falls short of the Master of Suspense's best pictures and never quite comes off at all . This is one of Hitch's most stylish and discussed films and will keep you riveted and excited until the edge-of-your-seat .

I Confess (1953)

This is one of Hitchcock's darkest films, and one of the best for seamless believability--it lacks some of the breaks from verisimilitude that bigger hits like Psycho and Vertigo famously use. It also has the incomparable Montgomery Clift, who took intensity to new heights as the first in a series of great method actors in the 1950s. He really wasn't a Hitchcock kind of actor (the director liked the artifice and changeability of a Cary Grant or Jimmy Stewart much more), but he makes the film what it is, and Hitchcock surely knew it, and made the most of it. When the camera (in the hand of Robert Burks) sweeps up to a full screen view of Clift's face and you see those glowing, brooding eyes, you fall under their collective spell. Yeah, it's great stuff.

The plot is pretty simple and amazing--a priest (Clift) learns something in a confession that come to haunt him in unexpected and very threatening ways. Hitchcock manages to push the envelope a little, as usual, in this case by having an illicit-seeming sexual affair be one of the keys to the plot. This implication naturally complicates the priest's life, but during the main plot of the movie and in a cheery flashback for backstory. Anne Baxter, the principled, strong woman (also not a Hitchcock forte) is terrific throughout, terrific the way Ingrid Bergman was in Notorious. Unlike most of Hitchcock's output, there is essentially no comic relief here, and the light and camera-work are equally dark--and truly gorgeous.

The French New Wave directors really admired this particular film of Hitchcock's, and you can see why. But it is also just a great, fast, distressing American melodrama set in France. It's not sensational, but it is spectacular, one of my favorites among many by this odd, brilliant auteur.

I Confess is one of those movies that almost reaches the brink of greatness, but just doesn't quite make it. Hitchcock's direction is certainly fine, if not a bit pedestrian. There are no signature scenes that seems to be present in many of his other films (such as the shower scene in Psycho, or the Mount Rushmore chase in North By Northwest). There is a flashback sequence, showing Clift before his character was a priest, that starts off beautifully....the camera is slightly cock-eyed, and Anne Baxter descends the staircase in slow motion, almost flowing down the stairs. However, the rest of the flashback just doesn't live up to the potential established in that first shot. Karl Malden is good as usual. Clift does an okay job in the role of the priest who hears the confession of the murderer. Anne Baxter is very good, and the supporting cast is certainly fine. I have also had a problem with the musical score of this film. Seems that Jack Warner had a standing rule at WB studios, of filling nearly every second of a film's soundtrack with background music. I'm sure Hitchcock and Tiomkin both cringed at this insane policy. Tiomkin DOES provide the film with a beautiful love theme of sorts. I recommend this film, but I don't guarantee that you'll be watching a classic. *** out of ****.

"I Confess" is merely an average entry in Alfred Hitchcock's filmography, but it is a pretty good film by any other standard. It has some basic weaknesses, but also some major strengths that make it worthwhile. The basic story is established early: Catholic priest Father Logan (Montgomery Clift) hears a confession from the church caretaker, who has just killed a man. Circumstantial evidence leads to Father Logan himself being suspected, but he is bound by the seal of the confessional and is unable to clear himself, putting him in serious danger of being wrongly convicted.

Two basic weaknesses keep "I Confess" from being one of Hitchcock's better works. First, too much of the plot hinges on the priest's confessional responsibility. In itself, this is an interesting plot device, leading to an interesting twist on one of Hitchcock's favorite themes, the wrongly accused man. But there are not enough other significant plot elements, and this one point cannot bear the load that it has to carry. In particular, a non-Catholic viewer, without an intuitive sense of the importance of confessional, will find it difficult to remember just how impossible it is for Father Logan to clear himself. This could have been established somehow earlier in the film - Hitchcock could be very creative when demonstrating things like this - but as it is, it is assumed that we already appreciate its importance.

The two leads also are less than ideal in their roles, making it harder for the audience to develop the deep identification with them that makes Hitchcock's best movies such exciting experiences. The ever-brooding Clift is very believable as a priest, but his acting range is too limited to make us fully appreciate his dilemma, nor can he make the romance angle as compelling as it could have been. Anne Baxter is also too melodramatic as Logan's old friend who wants to clear him. Baxter is a good actress in the right part - for example, her breathlessness is ideal in "All About Eve" - but her character here really called for something different.

Yet there are some strengths to "I Confess". One that stands out is the wonderful black-and-white photography. The film was made on location in Quebec, and Hitchcock masterfully uses a careful selection of shots throughout the picture that establish Quebec's distinctiveness and its stark beauty. It is one of Hitchcock's best pieces of location filming, rivaling the French Riviera scenery of "To Catch a Thief", although of course with a much different tone. In both films, the location nicely complements the story.

Karl Malden is good as the inspector assigned to the case. Malden must accept the usual role of a Hitchcock policeman - hard-working, honest, and earnest, but not very perceptive. Malden makes what could have been a bland character come to life.

There is also a fine climactic sequence: Father Logan is finally put on trial, and the verdict sparks public outrage and a carefully filmed and suspenseful chain of events. The climax is perhaps less satisfying than those of Hitchcock's best films, but that is mainly because we never learned to identify very much with the characters; it is not a fault of the ending itself. There are some fine Hitchcock touches here that you have to catch on repeat viewings.

Much like "The Wrong Man", another Alfred Hitchcock gem, "I Confess" is a classic "what if?" scenario, this time involving a Catholic priest and a confession that completely changes his life.

For a basic plot summary, "I Confess" sees Father Michael Logan (Montgomery Clift) hear the confession of murderer Otto Keller (O.E. Hasse). Sworn to secrecy by the tradition of the confessional, however, Father Logan must grapple with his devotion to the cloth when outing Otto would mean saving himself and the woman he loves.

This is a simple little film (nothing grandeur or over-the-top about it), but at the same time it works very well on a number of different levels. The acting is superb (also including Anne Baxter in a key role), the plot is classic Hitchcock character-driven suspense, and the narrative keeps progressing forward in such a way that it continues to build upon itself. In other words, the pressure only continues to mount on Logan as each new development in the murder case comes to light.

Overall, "I Confess" is a solid Hitch effort that, while maybe not in "Top Ten" status for the famous director, is most certainly worth a viewing for the emotional characters and progressive drama.

As Alfred Hitchcock is my favourite director of course I would see I Confess. And on the most part I wasn't disappointed, for my tastes Dmitri Tiomkin's music score is too much of a drone(unusual for Tiomkin) but while not among Hitchcock's finest I Confess is what I consider Hitchcock's most underrated(Stage Fright got that honour before I saw this though). We do know who the killer is right at the start and after the first 40 minutes it is somewhat more talky and not quite as suspenseful as other Hitchcocks, there's also the unfamiliarity at the time of the Catholicism codes. It is strikingly shot, helping a lot with the atmosphere, and the settings and costumes are rendered nicely too. The dialogue is talky but is thoughtfully written and gripping, just don't expect the wit of North By Northwest and To Catch a Thief or black humour of The Trouble with Harry and Family Plot(it's not that type of film) and be thankful that it isn't overwrought and stilted like Under Capricorn, Juno and the Paycock and Paradine Case. The story is quite slow but very atmospheric with a suspenseful(in that you wonder whether Logan will betray the confessional's secrets or not) first 40 minutes and reasonably tense climax, like 39 Steps and North By Northwest it is a classic wrong man story with also the idea of guilt seen in Strangers on a Train. The idea of Logan's dilemma throughout the film is one we can relate to, no matter how unfamiliar it was at the time, and it is relevant today I think. Hitchcock's direction is fine, and so are the performances. I can see why people may not like Montgomery Clift's performance, but I loved his brooding intensity and methodical nature for the difficult role he has to do, a similar style of acting to Paul Newman in Torn Curtain but far more convincing. In fact for any of the actors who did any of the brooding intense roles for a Hitchcock film that aren't Cary Grant or James Stewart, I consider Clift one of the better ones. Anne Baxter is very good as a less likable but just as interesting character, while Karl Malden is perfectly cast and Brian Aherne does menacing and sympathetic rather well. All in all, not typical for Hitchcock but it is a great film and his most underrated. 9/10 Bethany Cox

There are not worse mystery stories than those that are resolved by a confession. This picture starts with a confession, and starts well. But the very complicated, and very absurd story's denouement is another confession: The real murderer confesses by shooting people. Hitchcock himself said to Francois Truffaut that he did not remember why he bought the old play in which this picture is based. Lots of coincidences do not construct a suspense story.The picture is saved by the performances of Montgomery Clift (even if it is slightly monotonous), Anne Baxter and Anny Ondra. Imagine a Hitchcock picture without humor!

It's never been satisfactorily explained why this wasn't a commercial success. It's not a bad film. Nor is it good in an inaccessible way. Hitchcock's explanations for its failure aren't at all convincing... Non-Catholics don't know about the seal of confession, he said; they can't believe that a priest will sacrifice his freedom and career just to keep a secret. Rubbish. They can and they do. EVERYONE knows about the seal of confession, and Montgomery Clift makes Father Logan's sacrifice perfectly plausible. (Besides, I've never had much time for the objection that a lead character is "too good".) The one thing some people don't know about the seal of confession is that the priest can't mention the sin even to the guilty party, but this is made clear enough in the film in one of the confrontations between Keller and Logan. (All such confrontations are excellent, by the way.) Hitchcock also complains that audiences missed the point by hoping for Logan to tell the police what he knows, a complaint which betrays a misunderstanding of audience psychology. We NEVER hope that the hero will "get out of jail" by doing something dishonourable or morally wrong; so long as there is some other way for the plot to be resolved, THAT'S what we're hoping for. Besides, it's obvious that Logan will never break his vows. Another reviewer says that Logan should simply say to the police: "The seal of confession prevents me from answering your questions"; but the film makes it clear he can't say even this. It would put the police on Keller's scent, and Logan feels - rightly or wrongly, but at any rate plausibly - that his vows force him to be genuinely silent, not nudge-nudge wink-wink silent. I'm on his side here. It's hard to feel much sympathy for the "I won't say who did it, but I WILL drop a hint" attitude adopted by the priests of modern police dramas.

So what IS wrong with "I Confess"? Too much "Teutonic[?] gravity", as some have alleged? "Not enough humour"? Please. those imposing shots of stony Quebec MAKE the film. And let's face it: Hitchcock isn't funny. Give me this kind of thing over the leaden levity of "North by Northwest" any day. No: the short answer is that there's NOTHING, or nothing to speak of, wrong with "I Confess"; certainly nothing that explains its unpopularity.

A few things weaken it a little. If Montgomery Clift plays one of Hitchcock's most likeable characters, Anne Baxter plays one of the least likeable ones; I found it hard not to hope that Ruth would fall into the sea, or walk in front of a bus, or induce a casual passer-by to strangle her. This is okay: the fact that she's irritating helps the story. All the same, her explanatory flashback DOES tend to drag, and one wishes her scenes could be speeded up a little. Then there's Dmitri Timokin's score. It's a fine score, in its way, but it DRONES. Tiomkin is never allowed to get a crescendo out of the orchestra; instead, the sound engineer turns up the volume every so often.

Not that any of this matters much. Overall it's one of Hitchcock's more engaging films. The worst that can be said of it is that it's not a masterpiece, nor is it among his very best. Try it if you think that all the critical carrying-on over such films as "Foreign Correspondent", "Notorious", "Strangers on a Train" and "North by Northwest" is a bit much, and you long for something that isn't so theory-driven.

Upon viewing in a current day context, it is a genuine shame that I Confess, visionary director Alfred Hitchcock's follow up to his smash hit Strangers on a Train, was greeted with such a stigma of controversy and negative reaction. While it is true that having a priest as the lead character in what was essentially marketed as a suspense thriller may have been a storytelling trait slightly ahead of its time, (the religious connotations must have no doubt caused some mumblings of discontent back in 1953) but it does lead to a simply brilliant and unique story premise: Father Michael Logan (Clift) hears the confession of a murder from a man working in his rectory, but due to the sanctity of confession, can break his trust and tell no one, even when he himself is framed for the murder, unable to clear his own name.

Hitchcock is in familiar territory here as he revamps his trademark "wrong man" plot, but with the interesting tweaking of the lead role - instead of the protagonist fighting to clear his name when he is wrongfully accused, Father Logan must instead struggle in silence, dutifully refusing to breach the confidentiality of confession. This submission of the lead character did not sit well with audiences, nor Hitchcock himself when the film was first released,but this is ultimately what makes I Confess stand out among so many of Hitchcock's similar thrillers, without ruining the plot in the slightest - the suspense element is still there, albeit slightly more serious (there are no light heated wisecracks here) and subdued, as the audience still clings to the edge of their seats, wondering how Father Logan's name will be cleared without him personally attempting to clear it. And despite the complaints in regards to the film's 'forced religious messages', it is hard to comprehend the reputation as there are none really, apart from the lead character being a priest. Hitchcock handles his subject matter, (including the priest character being suspected of murder and having an alleged love affair) with just as even a hand, and as careful and classy a touch as in all his other efforts.

Also, I Confess proves to be not only Hitchcock's last film in black and white (except for Psycho seven years later) but also one of his strongest films in terms of visual style and feel for the film. The Quebec location and sets are pitch perfect throughout, and Hitchcock and cinematography director Robert Burks deploy subtle but innovative cinematography techniques throughout to heighten the mood, making more liberal use of camera movement and extended shots of behind characters heads, as if hiding their inner turmoil from the audience - a superb touch. Composer Dimitri Tiomkin's score toes the line of becoming too dramatic, but it settles as being suitably powerful and affecting. The screenplay by George Tabori and William Archibald is an intelligent piece, not afraid to push social boundaries given the time period, though it is disappointing that the motivation of Clift's character is more often than not chalked up to martyrdom, when the real intent was to demonstrate his struggle to remain faithful to his principles and faith.

As usual, Hitchcock also proves to be an expert actor's director, as the cast turn out universally excellent performances, each one emoting surprisingly genuinely and proving particularly convincing in their roles. Montgomery Clift gives a superb performance as the priest in question, Father Logan, remaining subtle to the point of seeming not to emote throughout, yet hinting at surging emotions kept carefully under a facade of calm. Anne Baxter is also a notable presence, one of the more memorable of Hitchcock's icy blondes as the mysterious woman connected with him, and she manages to retain interest enough to keep the audience interested through a long and potentially hazardous and tedious voice-over flashback sequence. Karl Malden is charismatic and engaging as the police officer investigating the murder case, and Brian Aherne is perfectly cast as a suave yet sleazy prosecutor. German actor O.E. Hasse debatably steals the show as the actual murderer, switching from despairing, to coldly logical, to sadistically enjoying Father Logan's plight as he is accused of the murder they both know he did not commit.

All things considered, it is a real shame I Confess is one of Hitchcock's more overlooked films, as the sheer quality and inventiveness bursting out of every frame should be easily enough to cement the film alongside other classic thrillers and dramatic films of the decade. Don't let the alleged religious connotations and occasional bad reviews steer you away - this is one of Hitchcock's strongest works, as the unique variation on his time worn themes, combined with a visually sumptuous look, a quick and intelligent script and a consistently impressive cast easily make the film worth a watch.

-9/10

By the time Alfred Hitchcock shot this movie, he already had a really strong career, with lots of great and excellent films, but it was after this one that he made his best-known masterpieces that became all-time classics, with the exception of 'Rebecca' and 'Strangers On a Train', that came before.

This movie begins with lots of shots of Quebec, the town where it's set. Then it shows a dead man inside a house. Right after it, we see another man going into a church and confessing the murder to a priest. But the plot really begins when the priest is considered the prime suspect of the murder, and he can't tell the police who did it because of the church's principles. The plot itself is already very interesting, ans it's so well-written that doesn't make the viewer bored at all, with great character development and a few clever twists, it's but Alfred Hitchcock's directing makes it even more interesting, with some clever shots at interesting angles, and a film-noir style to it.

Montgomery Clift stars here as the priest. Even though he is, in my opinion, a too good-looking priest, and that feels weird, if you can get past that, you can see how powerful is his acting here. Karl Maden also gives a nice acting as the police inspector, but it's Anne Baxter that isn't good. Although her character is important to the story, she feels weird and out of place.

This movie also suffers from the same problem as many movies of its time: because of the Hayes Code, they were forced to chance the movie's ending from the one featured on the original play in which the movie was based on. If it had stick to the original ending, it would be much better. The other problem I have with this picture is the two major flaws that bothered me. I'm not gonna spoil it here, but anyone can see it, and one of the then is the ending itself.

Overral, this is a nice directed Hitchcock film, with a clever plot, but with a weird ending. It also features nice interpretations by Karl Maden and Montgomery Clift, but Anne Baxter screws it. In my opinion, it is much better than Hitchcock's so-called better 'Strangers On a Train'. I wouldn't put it on a list of my favorite movies of the master, but it's far from the worst ones.

7/10

This may not be one of Hitchcock's greatest movies, but it's still a great film, since it was made by the master, who somehow managed to survive beautifully in Hollywood for many years. It contains many of his favorite things: lamps, the backs of people's heads, bedposts, ladies pacing in front of mantelpieces, obvious symbolism, architecture, performing arts halls, etc. More somber in tone than most Hitchcock thrillers, it should not be missed by any Hitchcock fan.

Nor by any Montgomery Clift fan. At one point Clift is juxtaposed against a statue of Christ dragging his cross, taunted by soldiers. This could be the impishly sadistic Hitchcock poking fun at the "plugged-up" persona that Clift was developing for himself, but Clift is nevertheless excellent as the brooding, sensitive priest trapped by his own devotional vows. And of course he's physically beautiful: the hair, the eyes, the eyebrows.

Less effective, although she has her moments, is Anne Baxter who was a replacement for a European actress. It's too bad, because it's hard to buy Baxter as the luscious Hitchcock blonde. Her hairdo is awful (well, it was 1953, so it's not entirely her fault)and she does that line reading that she does in every movie, including "All About Eve," where each line fades to a whisper, or starts as a whisper and stays that way. Once you become aware of it, you can't not notice it! She does, however, have at least one great Orry-Kelly dress and the way she snaps "Yes" at her husband was worth a rollback for a second viewing.

The new DVD is excellent. It has a little documentary which is enjoyable, if you can stand Peter Bogdanovich doing his Hitchcock impersonation. Hitchcock's daughter is also in the documentary. It's amazing how she seems to not really understand what her father was up to sub-textually, but she continues to enjoy his success.

Alfred Hitchcock directed this drama that stars Montgomery Clift as Father Michael Logan, a catholic Priest in Quebec who finds himself caught up in a murder investigation when the church caretaker(named Otto), after murdering a man whose home he was robbing, flees to the church for sanctuary after confessing the crime to Logan, who tries to convince him to turn himself in to the police, though he refuses. His wife Alma works in the church as a housekeeper, and keeps watch over him. The inspector in charge of the investigation(played by Karl Malden) comes to suspect Father Logan, which puts him in a bind if Otto won't confess, since he can't break confidentiality, even to save his life... Good cast can't save misfired drama, that never comes to life with a compelling story, despite some potential. A shame.