Confession

There are some great moments in this film, and they always come with a vengeance as a surprise. Perhaps the greatest titbit is the parenthesis with the blonde in the bar, a special treat and a delightful change of scenery, which otherwise throughout the film is rather grey and stale.

It all happens in a small town in England, where a lost son is coming home to his crippled father in a wheelchair and his sister with a boyfriend, who is an architect. Nothing ever happens in this town of Tunbridge, but on the arrival of this prodigal son, whom no one knows what he has been up to in America, there are two murders in two days. He has not committed the first one, and there are no witnessaes to the second. However, the springing point in this film is the confession which introduces the film, in which the architect, a catholic, makes a confession to a priest, and the priest, who knows all, must not on any circumstances reveal the confession, That's the law of the church. So the police, who knows that the priest knows, is in a predicament.

The sweety pie in the bar is Dorinda Stevens, whom you never have seen in any other film, while she is very much like Carolyn Jones in "Shield for Murder" the year before - the scene is almost copied, but here the soft Dorinda brings Sidney Chaplin home.

Although a sorry story, it's an interesting development of it with a grand Hitchcockian finale in church worth waiting for. Sidney Chaplin sustains his difficult and extremely revolting character to the end and at least makes a great act of it. Pity that young Englishmen should go to America to learn such bad manners.

An early sign that Ken Hughes was a director to watch was this ruthless thriller with a religious angle plainly inspired by Hitchcock's 'I Confess' photographed with his customary excellence by Phil Grindrod.

Charlie Chaplin's son Sydney Chaplin gets first-billed in a British Film Noir titled CONFESSION aka THE DEADLIEST SIN; the melodramatic alternate title references a priest who overhears the wrong confession from a confessor killed right after uttering what he's done, sort of...

And it's all the fault of Chaplin as prodigal son Mike Nelson, back home from America (with no British accent) with his crippled father and gorgeous sister Audrey Dalton...

She thinks big brother's as clean as the driven snow, providing what others have noticed is similar to Alfred Hitchcock's "cute niece loves her charmingly vicious uncle" SHADOW OF A DOUBT as well as I CONFESS with a targeted priest, leaving Chaplin little to do but look ominous and secretive, especially after sister loses trust since her boyfriend (and both their childhood friend) is the one killed after committing a retaliation-style murder of square-jawed Patrick Allen, who was blackmailing the suitcase-full-of-cash Chaplin in a thriller where the important side roles die off too quick to matter...

And, sadly, what began as a chance for Sydney Chaplin to shine darkly (looking more like he'd be Victor Mature's brother than Charlie Chaplin's son), the picture winds up in the hands of cop John Bentley, who... as the tail wags the dog... would have been better left in the background.

CONFESSION is one of those British thriller cheapies shot at Merton Park Studios and watching it you realise right away just how influenced by the minor Hitchcock film I, CONFESS it is. The story begins with a couple of American hoodlums arriving in Britain, only to fall out, and murder ensues. A priest hears a confession from one of the crooks and is involved in the subsequent investigation. I struggled with this one for the dearth of action and atmosphere, plus it generally lacks the suspense that makes thrillers of this era. Former Paul Temple John Bentley plays the cop, and there are minor parts for both Percy Herbert and Patrick Allen.

The English director Ken Hughes isn't the most known director in the world, though I seem to have watched three of his movies: "Casino Royale" (he was one of the five directors), "Chitty Chitty Bang Bang" and "Terror Eyes" (a.k.a. "Night School", an acceptable American take on the giallo phenomenon). Not that I knew this when I bought my copy of "Confession", which I found in the Extreme Sales section of my local megastore. The movie looked okay enough to spend € 5 on (especially since it used to cost 30), so I bought "Confession". Also the names of Ken Hughes and Audrey Dalton vaguely rang a few bells. Research post-purchase informed me Dalton also starred in "The Monster That Challenged The World" and William Castle's "Mr. Sardonicus". There have been worse references.

"Confession" sounds a bit like Hitchcock's "I Confess" (released two years earlier), in that both movies feature a murder confessed in church and a priest who's bound by catholic law not to reveal what had been confessed. Even more striking is that both movies have been based on plays.

It would be wrong though to see "Confession" as only a copycat of the Hitchcock movie: only the theme is vaguely similar and the plot develops in different directions. For my money, "Confession" is the better film of the two, an incredibly underrated film which isn't easy to obtain (in 1994 Warner Bros released it on video in the UK, but that's the only version I've seen of the film).

The movie starts with a man confessing he's murdered a man. Why he confesses and why just that scene has been used to start the film will only be revealed half an hour later. After the credits we start with a flashback, where we watch how Louise welcomes her brother Mike who returned from a long stay in the US. Mike is portrayed by Sydney Chaplin who had an interesting career which kicked off with a Chaplin movie in 1952 ("Limelight") but ended with trashy horror like "Psycho Sisters" (1974) and "Satan's Cheerleaders" (1977). Why Mike has returned to England isn't quite clear, but he's always been someone who doesn't like to stay in one place for long. Though this time there might be another reason: Mike gets a phone call from somebody who demands his money. It's not long before somebody dies.

"Confession" doesn't work as a whodunit because we know who the murderer is. More interesting here is how all this affects the relationship between Mike and his family members. Equally interesting is the woman Mike meets in a bar (and how rude he is to her), but it's not completely clear to me what the writers tried to establish with these scenes. All in all this is a good movie and it's a shame the movie didn't get a better distribution.