Le procès Paradine

"The Paradine Case," released in 1947, is a courtroom drama directed by the master, Alfred Hitchcock, and it's obvious it isn't his thing, or else he didn't care about it. Gregory Peck plays a British attorney and Ann Harding his wife; Alida Valli is Mrs. Paradine, a woman accused of murdering her blind husband, Louis Jourdan is her husband's valet, Charles Laughton is the judge, and Leo G. Carroll is the prosecutor. All that talent, and it's pretty slow going.

Peck is Anthony Keane, a successful attorney with a very happy marriage to Gay. They are extremely affectionate and loving with one another, which is why it seems strange that five minutes after Keane meets Mrs. Paradine, he falls in love with her. Granted, Alida Valli is exquisite and mysterious, but the woman is accused of killing her husband. She becomes an instant threat to Gay, who tries to remain courageous. Peck's hair is grayed in this, and I was surprised to read in another comment that he had a British accent. I only heard an accent in one scene where he kept saying cahn't - and it sounded really odd.

Louis Jourdan is Andre La Tour, whom Keane suspects may have committed the murder. Jourdan is so handsome, even Laughton's character comments on it! The story drags on, and the trial is really a McGuffin, because the actual plot involves the Keane's marriage. Harding does her usual excellent job, and Peck, accent or not, is very good.

It's the kind of film that leaves one flat. There's not too much to say about it except that given Hitchcock and the cast, one would expect a lot more.

Because this movie has so few of the features normally associated with a Hitchcock picture, it has a rather poor reputation. But it has a fine cast, most of whom perform quite well, and if the story is taken on its own merits it is interesting, although slow-moving and heavily dependent on the characters' conversations with one another. If it had been made by someone else, it might seem like more of an accomplishment.

In "The Paradine Case", Mrs. Paradine (Alida Valli) is arrested and tried for the murder of her husband. She is defended by the great lawyer Anthony Keane (Gregory Peck), who quickly becomes intoxicated by his client and loses all objectivity. Even as evidence mounts that she may have done the crime after all, he risks his marriage and reputation on the slightest of chances to find new evidence. It moves quite slowly, but is helped by the presence of many good supporting characters and a fine cast that portrays them convincingly. Things come together in a lengthy courtroom sequence that is sometimes uncomfortable to watch, but tense and realistic.

Many viewers feel let down by the film because it lacks the energy and excitement found in most of Hitchcock's films, and because the courtroom setting creates expectations that are not quite filled. Indeed, it does have its faults, and it's hard to believe that someone of Hitchcock's creative genius could not have thought of some ways to give more life to the body of the picture, because there are times when it really crawls along. But taken on its own merits, it is a pretty good movie, carefully filmed as always, and one that gives the viewer plenty to think about. There are some good scenes, with the best one being the subtly crafted opening sequence of Mrs. Paradine being arrested in her elegant home and taken to prison.

Many Hitchcock fans will not particularly enjoy this one, although if you like his more somber masterpieces such as "Vertigo", you might at least want to give this one a try - not that it is nearly as good as "Vertigo" (how many films are), but it is somewhat similar in tone. It works much better as straight drama, rather than as suspense or mystery, and as such it is worth watching.

I'm crazy about Alida Valli. I'd seen every film she's ever done except "The Paradine Case" until today that is. Today I met Mrs Paradine for the first time. Strangely enough it doesn't feel like Hitchcock it feels more like Carol Reed the director who gave her a major International hit with "The Third Man" a couple of years later. I fell in love with Alida Valli in the 1954 Luchino Visconti's tragic romantic epic "Senso". Now having seen "The Paradine Case" I see a glimpse of the woman in "Senso" where her actions, are also atrocious but govern by love. A love who will only lead to tragedy. Visconti showed us an Alida Valli that other than a great beauty was also a great actress. Hitchcock introduced her as VALLI in this film, a gimmick with very short legs. Here she plays the widow of a blind man that "allegedly" she killed. The casting of Gregory Peck is a major problem, maybe not for the box office in 1947, but it certainly detrimental to the suspension of disbelief, so needed in a thriller. Charles Laughton is superb in his few, short scenes. I wonder if Hitchcock himself was the inspiration for his role. A judge, a lascivious man with an roving eye for young pretty women. Ethel Barrymore plays his wife, to absolute perfection. Then, Louis Jourdan, beautiful of course, Charles Coburn, Ann Todd but, it is Alida Valli who gives this film that extra something. Considered a "minor" Hitchcock by most but not by me. 9/10

Why does this movie seem so dull? The acting isn't bad once you get past Gregory Peck's British accent. None of the performances are outstanding, they're just not bad. The roles restrict the performers' range. I think Alida Valli smiles once. Louis Jourdan seems to have only one expression, a bitter, barely controlled anger. If he tried to smile he might crack. The actor given the best lines is Charles Laughton, who hams it up and brings a bit of life to the screen. "Remarkable how the convolutions of a walnut resemble those of the human brain." And that flabby, sweaty palm as he takes the hand of Peck's wife, squeezes it lasciviously, and places it on his thigh.

Well, I can think of three reasons why it's dull.

(1) It's overwritten. The script needed somebody like Daryl F. Zanuck to hack out some of the underbrush. Peck is questioning Valli in court. It goes something like this: Peck: "What did you say to Latour." Valli: "I told him to leave the room." Peck: "But why did you tell him to leave?" Valli: "Because I no longer wanted him present." Peck: "And why did you no longer want him present?" Valli: "His presence was disturbing." And so on. How did the jury stay awake? Some of the scenes are pointless. Not the sort of interesting meanders you might find in other Hitchcock movies. Just pointless. Peck visits a country house to talk to Latour, who promises to show him the garden and then beats it pronto. An hour or two later Latour shows up banging on the window of Peck's room at the inn, having changed his mind for no apparent reason. The five-minute conversation that follows could have been condensed into half that time and benefited from some supplementary bits of business. Instead the two adversaries sit there like mahogany idols hiding information from one another. That's a poor script for you.

(2) Hitchcock's imagination seems to have been asleep during the shooting. Perhaps the director himself was asleep. (It happened from time to time.) It isn't necessary for every Hitchcock film to have a bravura shot in it. The camera needn't always swing down from an upper story and wind up with a closeup of the key in someone's hand. But there is, maybe, one shot in this flick that bespeaks Hitchcock. When Andre Latour is first called into the courtroom as a witness, Hitchcock keeps the camera focused on Valli's face in the defendant's chair and circles it slowly around her so that we see Jourdan walking slowly into the room past her, behind her, and can almost feel her incandescent desire to turn around and look directly at him.

(3) Hitchcock had a great sense of humor and it's entirely absent from this movie. It must in fact rank among the least humorous films he's ever made. And it's surprising, because he was usually able to insert some piece of business into even his most serious works. (Not including "Vertigo.") Often the humor centers around meals. A dowager stubs out a cigarette in a jar of cold cream, or the yolk of a fried egg. A police inspector is forced to eat fancy dishes that a Kurdish camel driver would turn up his nose at. Or the humor lies in montage, as in "The Man Who Knew Too Much," when Jimmy Stewart escapes from a clumsy set-to with the staff at a taxidermist's and the scene ends with a shot of a stuffed lion's head gaping at the slammed door. SOMEthing, anyway, to lighten things up. But not here.

Put it all together and you have a pretty dull movie, one of the several serial flops that Hitchcock ground out in the post-war period. It isn't exactly painful to sit through. It's just that it's not very enjoyable.

With all the proficiency in production for which both Hollywood veterans were recognized, David O. Selznick and Alfred Hitchcock seemed to go halves in creative effort on a polished piece of stagnant entertainment in their ceremonial Paradine Case. Dub it a mystery melodrama, even if that doesn't completely sum it up any more than it did Rebecca, a preceding, much superior production by the two. Classify it as a romantic courtroom would-be tragedy alongside a marriage soap opera. It's all of these things rolled together in one intermittently interesting movie, effortlessly told via Hitchcock's sophisticated camera.

If you recall the lingering distress which Rebecca, the apparition femme fatale of that film, set off all the other characters, albeit she herself was dead, that's the kind of shadowy trouble that the poised Mrs. Paradine affects all the characters in this narrative, except she's quite alive. Nevertheless, her husband, a blind man, is dead and she's on trial for his murder. The story itself has much prospective tension, especially putting Mrs. Paradine at the hub of the drama. It's never cut and dried what she's up to and though the seductive effect of a woman under suspicion on a man with influence is and was nothing new, the plot progresses on its own distinctive path, as she is a distinctive character. The issue is that, unlike Hitchcock's British films, this American Hitchcock film set in Britain dulls the blade of the dramatic elements and turns. Hitchcock's camera has a way of acting like an adept trial lawyer, whirring calmly along with customary material and swiftly punctuating with fluent theatrics, and also unsurprisingly, the movie's furnishings have a lush David O. Selznick guise. However, despite Hitchcock's simplistic mastery of when and how to move the camera, each scene is a dialogue piece that I, to my own surprise, found would be much more impactful in other, perhaps grittier and more contemporary hands.

Slowly, overemotionally, but gracefully enough, this picture files the potentially much more intriguing story of the eponymous widow's swaying lure over many who are impinged on by her trial, in addition to a predetermined eye-opener to the nature of the character herself. It makes a pale wink at the covetousness she provokes in the officiating judge, a typically sharp-tongued Charles Laughton whose urbane hostility has altogether sent his wife over the edge, another powerful narrative element that seems to have been glossed over. There's also disquieting suggestion of Mrs. Paradine's clutch on her husband's valet, a man upon whom keen suspicion is aimed before and during the trial, though mainly it follows the zeal she rouses in the stiff-postured man appointed as her defending counsel and of the torment this causes his wife.

Gregory Peck is fervent as the prominent young London barrister who lets his heart, callously ensnared by his client, control his head, while Ann Todd would be much more persuasively grief-stricken as his wife were it not for Franz Waxman's gushy score being poured on her every word like syrup. Italian import Alida Valli makes the confined Mrs. Paradine a composite of inscrutability, ambiguity and sensuality, and Louis Jourdan is pretty intense as the harassed valet.

It isn't a momentous Hitchcock effort by a long shot, save to the degree that it infers the cave dweller beneath everyone's practiced etiquette and concrete integrity and barristers' wigs. And it isn't a momentous script either, for the intent of cinema that is, developed by Selznick himself from Robert Hichens' novel. After a hazy buildup of evidence and of passion in the lawyer's heart, the story finally goes into a static but enthralling courtroom and thankfully remains there for most of the second hour.