Sin sombra de sospecha

This is certainly one of the most lushly photographed of all noirs. Hardly a set-up goes by without an eye-catching furbelow of one kind or another, thanks to cameraman Woody Bredell and Art Director Anton Grot. That's one main reason to catch up with this otherwise turgid 1947 release. Then too, except for the unfortunate Ted North, it's a stellar cast from the sleekly malevolent Rains to the coldly conniving Totter to the wittily sophisticated Bennett. However, I suspect that's one reason this richly endowed exercise failed to achieve classic status— just too many stars with too many lines that multiply subplots in a rather poorly thought-out storyline. There's simply not enough coherence and focus to generate the desired suspense of, say, a Rebecca (1940) or a Suspicion (1941), both of which the screenplay resembles. This results in a movie of bits and pieces, and a good chance to catch up with post-war high fashion. And catch that salvage yard from hell that turns up at the end, along with the behind-the-scenes glimpse of radio drama or what was then aptly called "the theater of the mind". Anyway, no movie with the commanding Claude Rains can afford to be passed up, here at his cultured and calculating best.

For his final film on his Warner Brothers contract Claude Rains got a starring role instead of being in support of one or two of Warner's name contract leads. Rains plays Victor Grandison the host of a radio mystery show where he narrates crime stories. He's a most popular host with good Hooper ratings I'm sure. Hooper by the way was the equivalent of the Nielsen ratings for television.

Rains lives well courtesy of his niece Joan Caulfield who has some large inherited wealth. There's another niece Audrey Totter who lives with them and her husband Hurd Hatfield, but not happily.

One of Rains's aides at the radio station is murdered. Then Caulfield is reported missing at sea. Before she's found Ted North arrives at the estate claiming to be her husband, but she can't remember getting married.

A couple of more deaths occur and always Rains is The Unsuspected one. What he is is a master manipulator of people and events.

The key to it all is North who is definitely not what he seems. Also Constance Bennett is around who works at the radio station. I liked her, but she's got a most ill defined role. And we never do learn why the first aide is killed.

Nevertheless Claude Rains is really giving a performance that they ought to show in acting classes. So many emotions, so subtly conveyed.

For Claude Rains fans everywhere.

Bravo, TCM, for showing this. I haven't seen it since I was in my teens thirty years ago. It is similar but in many ways superior to Laura. The major flaw of Laura is that it is impossible to believe that Clifton Webb has a great, overriding physical passion for Gene Tierney. There is no such nonsense in The Unsuspected. This is a highly atmospheric, evocative and literate noir set in the sophisticated world of radio and literary circles. We have a powerful, understated performance from Rains alternating between the likeable and sinister. He was one of the very few actors who could pull this kind of thing off (i.e. Notorious, Deception).I take great exception to a previous comment here about a "throwaway cast." Throwaway? Audrey Totter? Constance Bennett? Hurd Hatfield? The too little seen Fred Clark? Hardly throwaway! Totter's performance is etched in acid and this, with her job in Tension, is the best of this fabulous lady's career! She and Bennett here play both sides of the bitch coin. Totter is the nasty side, Bennett the amusing and brittle side. Both of theses dames bring life to dialogue that even on paper would be smart. If you love Warner Brothers, Rains, Totter, Bennett, or noir in general, this is a tasty treat.

I liked this bit of film noir. The story is a bit confusing and it lacks a solid foundation for introducing and developing characters. Unlike most films, this film might have been over edited. Another 10-15 minutes of character development might have helped.

Now having said all that, what I truly liked about this film is that it is set during the golden age of radio. Its nice to have a contemporary view of this now lost and long forgotten world. We get to see a production of an "old time radio" program. We see how sound was recorded before taping became practical. Claude Rains' character is a narrator of a spooky, murder mystery radio show very much along the lines of popular radio programs such as "The Whistler" or "Suspense" or "Lights Out." Rains was perfectly cast in this role. His "radio voice" hearkens back to the day when "the Man in Black" or "the Whistler" kept millions of Americans entranced by the glowing dial in their darkened den or bedroom.

Nice atmospheric thriller with excellent black and white photography and with chilling use of shadows! The film is inspired by both "Rebecca" and "Laura", and maybe "Suspicion" i suspect... The murderer is obvious but it is still entertaining with a good script!

Loveley performances by Hollywood pros like Claude Rains, Constance Bennet and the underrated Audrey Totter always worth seeing!

This was my first Joan Caulfield movie, apparently a starlet at the end of the 40s, a good actress but a bit forgettable. I love these film noirs from the golden age of Hollywood. Golden age of filmmaking, actually...