Il sospetto

That could have been Cary Grant's most chilling line in his long career.

*SPOILERS*

Except RKO didn't have the courage of its convictions. Having bought the rights to Francis Iles' novel, and despite Hitchcock's insistence on sticking with the original ending, neither preview audiences nor the studio were ready to accept Cary Grant as a murderer. So its present ending was hastily written and shot. It completely subverts all the fine work that's gone before.

Joan Fontaine was a brilliant actress and valiantly, passionately, breathlessly tries to make the shockingly amateurish dialogue in the final scene work -- "Oh, Johnny! You were going to kill yourself instead of me, like the audience and I have thought for the last 90 minutes! Oh, Johnny! It's as much my fault as it is yours! Oh, Johnny! I was only thinking of myself . . . ," etc.

Cary Grant does his best with this final abomination of a climax. "Lina! Lina! How much can one man bear! When you and the audience thought I was in Paris murdering Beaky I was really in Liverpool!" Etc.

Huh?

In other words, this beautifully produced, directed, acted and written psychological suspense thriller turns out to be about a charming lazy n'er-do-well who's sponged and embezzled his way through life, who marries a beautiful but neurotic aristocrat who, from day one, increasingly assumes the worst about her husband -- convincing herself (and us) that he's killed before and now is about to kill her?

"Just kidding," the tacked-on final scene says. "It was all innocent. You eating popcorn out there in the dark, and Lina, should be ashamed for even THINKING such things! Go home now."

It helps, out of self defense, to watch "Suspicion" with the original ending in mind. Yes, the milk is poisoned. Yes Johnny killed Beaky in Paris. Yes, he's a psychopath who lies, cheats, steals and kills. Yes, Lina believed him and loved him deeply -- the only man she's ever loved. Yes, her life is no longer worth living, now that she knows the truth about Johnny. Yes, she rightly suspects that milk is poisoned. So she writes a letter to her mother, telling the truth about Johnny's exploits, and that he is poisoning her as she writes -- and that she intends to die. She seals the letter and gives it to Johnny to mail. She drinks the milk. Johnny leaves and unknowingly drops Lina's letter into a mailbox, thus sealing his fate.

THAT'S a rewarding ending.

It also makes everything that's gone before (including writing, directing, performances and cinematography) plausible. It gives "Suspicion" a reason to exist.

But that's the novel's ending.

The film's "Lina and the audience are just paranoid" ending makes fools out of all the talent on display here. And of us.

Hold mentally to the original ending and you'll love it.

Despite a flawed ending (imposed we're told, by nervous studio executives) 'Suspicion' is a terrific thriller. It may not be Hitchcock's best movie but it is one of his most entertaining. Cary Grant is perfectly cast as Johnnie Aysgarth, a charming rogue. This was the first of four movies he made with Hitchcock, but it's the performance I enjoy the most. Joan Fontaine, star of Hitchcock's previous movie 'Rebecca', is wonderful as Lina ("monkeyface") the woman he woos. The two make a great couple, and their acting really makes this one believable. Well loved character actor Nigel Bruce (who had also appeared in 'Rebecca', but is best known to most of us as Dr. Watson in the Basil Rathbone Sherlock Holmes movies) is also brilliant as Johnnie's old pal "Beaky". The rest of the cast includes Sir Cedric Hardwicke ('Rope') and Leo G. Carroll (six Hitchcocks in all). 'Suspicion' is a real treat for mystery/thriller fans. I wonder just how many contemporary movies in this style will be as enjoyable in sixty plus years?

While in many respects one of Hitchcock's lesser films, "Suspicion" has some good performances and a degree of suspense that is as sustained as in any of his films. The movie gets quite a lot out of a relatively simple plot.

Joan Fontaine gives an excellent performance as Lina, a quiet young woman who finds herself swept away by, and suddenly married to, the charming but irresponsible Johnnie, played by Cary Grant. Not long afterwards, she begins to question his behavior and his intentions, and soon she is terribly afraid, both of what he might have done and of what he might do. Whenever she manages to overcome one of her fears, no sooner does she do so than her husband gives her a new reason for suspicion. There really isn't much more to it than that, but Hitchcock gets a lot out of this basic premise. The tension keeps building, and Fontaine's performance allows the viewer to feel all of her fear and anxiety. Not everyone likes the way that it all ends, but it is worth seeing and deciding for yourself what you think about it.

The rest of the cast have mostly limited roles, but give good performances that add to the portrayal of the main characters. Especially good is Nigel Bruce, who provides a few lighter moments as one of Johnnie's old cronies.

While lacking the complexity and excitement of Hitchcock's best pictures, "Suspicion" is still a good example of his ability to keep the audience in lasting suspense. Most Hitchcock fans will want to see it.

Cary Grant plays a real creep in this film, a guy who sponges off others and who is allergic to telling the truth. He marries a "spinster" (Joan Fontaine, uh...), the daughter of a wealthy man, but seems to have darker ambitions than simple gold digging. Hitchcock is masterful in building up our dislike of Grant's character over the film, and despite it being a quiet kind of film, he maximizes suspense in several scenes. I loved the little touches like the dinner party with the murder mystery author and her family, and the affable friend "Beaky" played by Nigel Bruce. Unfortunately the ending is just awful, which is a real shame since there were several other possibilities. Half a tick off for that, and frankly the deduction could have been more.

Favorite lines: Johnny (Grant): What do you think of me by contrast to your horse? Lina (Fontaine): If I ever got the bit between your teeth, I'd have no trouble in handling you at all.

And as a side note, never marry a man who:

• Sneaks into first-class and when caught, mooches off you (a stranger) to pay for him
• Constantly calls you monkeyface
• Touches your ucipital mapilary (I confess I just wanted to say "ucipital mapillary")
• Brags about having been with 73+ women
• You don't know diddly about, e.g. what his plans for making a living are
• Practically chokes on the idea of getting a job, and wants to borrow from others instead
• You catch lying to you more than once
• Sells your prized possessions to go gambling (I mean those family heirloom chairs, c'mon)
• Humiliates you in condescending ways with his buddy
• Has an excessive interest in your father's wealth
• Also has an excessive interest in non-traceable poisons

...even if he is Cary Grant.

Hitchcock's 'Suspicion' starts off as a slow moving silly romantic comedy before switching to a thriller. Hitchcock's style of narrating the story as the events unfold is brilliant as usual. Cary Grant turns on the charm button but it is Joan Fontaine who steals the show. Lina's increasing suspicion, confusion and despair as she discovers Johnnie's deadly secrets are skillfully displayed. Hitchcock maintains the element of suspense and increasing tension very well. However, it is the ending that is a let down and the only reason I can think of why such a closing was chosen was to fulfill the Hollywood 'happy ending' standard. 'Suspicion' could have been an excellent dark thriller had the ending been more plausible and made sense of all the preceding events. Yet, it remains a good job mostly because of the crafted way Hitchcock builds tension throughout the movie.