Ich beichte

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 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).

"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.

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'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.