Mi Secreto Me Condena

"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.

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.

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.