I Confess
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Movie Reviews of I Confess
Movie Review: Dramatic Hitchcock on the Highest Level in Small Film...
Summary: 5 Stars
Every time Alfred Hitchcock made a film, he offered a unique and intriguing experience even though some of his films never reached the same glory as Rebecca (1940), Notorious (1946), and Vertigo (1958). One of these smaller films is I Confess (1951); however, it still carries the Hitchcockian trademark of visual brilliance with which he mesmerizes an audience. Nonetheless, I Confess offers a great story that plays strongly with visual and social symbolism while Hitchcock emphasizes the different views of society through strong contrasts. The black and white photography enhances these strong contrasts, as it offers much for the audience to ponder.
The opening scene brings to mind the opening in Citizen Kane (1941), but here the scene has a completely different symbolical meaning. There is a lower angle shot of a castle with the sky in the background and a small city in the foreground. The black and white photography creates a concentrated contrast, as the castle appears almost black. Simultaneously, apprehensive music plays in the background which enhances the ominous atmosphere, as several cuts display directional arrows stating, "Direction". These scenes also inform that the story takes place in Canada, later it discloses its exact location, Quebec. Eventually these arrows guide the audience through an open window into a room where a body lays lifeless on the floor while a moving door drapes moves suggesting that someone recently left the room. Strikingly, the audience will recognize the person who left as the murderer, as the viewer's curiosity grows exponentially.
Through the eye of the camera, the audience gets to follow this dubious character dressed in a long dark robe, as the person enters a Catholic church while the film's protagonist, Father Logan (Montgomery Clift), observes the person entering the church. Father Logan makes his way to the sanctuary to see who it is, as he finds a troubled man who confesses to him that he has just killed a man. For those who do not know, the rules of the Sacrament of the Confession state that Father Logan cannot reveal anything from a confession. This reasoning stems from the idea that what a person shares with the priest is only a matter between the person seeking absolution and God, as the priest merely functions a sounding board. Thus, the knowledge that Father Logan acquires that evening in the sanctuary must remain a secret, as long as he wants to remain a priest for the Catholic Church.
The story unfolds in a subtle and delicate manner, as if a whisper could ruin the whole scenario. However, no whisper breaks the fragile thread on which the audience ventures through Hitchcock's masterful artistry. Yet, the audience waits in deep suspenseful anticipation that Father Logan will spill the beans in regards to his sinister knowledge. Instead, the story becomes more intricate, as further details begin to taint the truth. Cleverly, Hitchcock displays his understanding for society and the psychology of the audience, as he makes Father Logan appear as both a villain and a saint. This is also evident throughout the film, as Hitchcock frames several scenes in a way that expresses the notion of Father Logan's duality.
Hitchcock's I Confess offers a stunning cinematic journey where the true mystery does not rest within a murder. No, the true mystery in this film appears through the mirror of the society that Hitchcock creates by overtly displaying stereotypes and social generalizations. These generalizations transfer negative thoughts in the perception of Christian morality, and even the audience becomes engrossed in these thoughts, as Hitchcock shrewdly weaves the script, cast, mise-en-scene, and camera work into one potent concoction where no one will be untouched. Despite being a small film, I Confess displays Hitchcock's cinematic genius and leaves the audience with a compelling story to ponder for some time.
Movie Review: A powerful drama with numerous allegories and moral challenges!
Summary: 5 Stars
This review is for the 2004 Warner Brothers DVD.
I've been a big fan of Hitchcock since I saw the movie "The Birds" in the late 1960's and since then I thought I'd seen all of his movies on either video, TV or the big screen at some movie festivals. I recently bought the nine DVD "Signature Collection" and had seen all but two movies, one of which was "I Confess". I really didn't know what to expect and was a bit disturbed with the artwork which shows a priest holding a beautiful woman.
The storyline involves an immigrant named Otto Keller (O.E. Hasse) who works as a maintenance man in a Catholic Church in Quebec. One night Otto comes into the cathedral and sees a priest named Father Logan (Montgomery Clift) and asks the priest hear his confessions. Otto confesses to Father Logan that he killed someone earlier that night. Father Logan goes to that house of the murdered man the following morning, but the police have already arrived and Logan also runs into Ruth Grandfort (Ann Baxter), a woman he knows. The police have only one lead and it appears that some witnesses saw a priest leave the scene of the crime. The plot thickens intensely as Father Logan becomes a primary suspect, and his credibility is challenged since he appears to be involved with a married woman yet because of his oath as a priest, he cannot divulge the confessions of the killer. This sets up the rest of the movie for plenty drama and suspense.
This was one of those movies that sticks with you long after you watch it and gives you a lot to think about. There could be many parallels made to the life of Jesus who served and sacrificed his life for the sake of the sinners of the world (although Father Logan is in no way a Messiah). Other allegories include being ridiculed and scorned for acts he never committed or for being compassionate and forgiving for those who've harmed him. In all, its a story of compassion, sacrifice and love, but perhaps most of all staying true to your oath and calling, even in the face of death. The acting was nothing extra special, but I would say Karl Maldon was the best of the bunch. The script was superb and the picture certainly had that "Hitchcock look", especially in the opening segment at night. In case anyone cares, I'm not a Roman Catholic, but a Christian who attends a protestant church, yet I found this movie very inspiring. It was also refreshing to see a movie that wasn't trying to viciously scandalize the church as many movies do today. This film may be more for acquired tastes, but for myself, I was thoroughly pleased with the story, and was more challenged than entertained.
The DVD quality is nearly perfect for a movie this old. The transfer is sharp and blemish-free, but seemed a tad grainy in some scenes. The sound was fine and there were a few bonus features including a commentary segment about "I Confess".
Movie: A
DVD Quality: A-
Movie Review: Easy Choice: Vow versus Justice
Summary: 5 Stars
The performances of the primary actors are excellent, including that of Karl Malden as a tenacious detect, Montgomery Clift as the unusually innocent priest, and especially that of Anne Baxter as the woman who stays in love with a man after he has become a priest.
The direction by Alfred Hitchcock was diabolically good. You might even say, blasphemously exquisite. Let me explain.
On the surface, this film seems to be about how firm a priest could be in his faith. Because of his priestly vows, Father Logan refuses to implicate a killer, merely because the killer has confessed to him. The killer has the sanctuary of the priest's vows.
I have no doubt that many viewers of this film, especially the faithful, would walk away from the cinema in admiration of Father Logan's adherence to his vows.
However, upon closer inspection, I found that this film clearly demonstrated the true `value' of a vow. Vows, in my opinion, are short sighted, arbitrary promises that fail to consider anything but the closest possibilities. If a vow is taken for just reasons, what happens when the vow clashes with moral justice? Is one to be unjust, merely to satisfy an arbitrary vow? Of course not. Well, not in a reasonable world.
In the film, Father Logan protects the killer and even implicates himself just to be true to his vows. Our own hearts tell us that this is wrong. A good man should not be paying for someone else's crime and should not be protecting a criminal.
The intention of the vow that Father Michael Logan took was not so that killers could confess their crimes to him and then go free. Is there anyone who thinks otherwise? Father Logan should go to his superiors or to the police and explain that he could not be guilty of this crime, because he knows who the real killer is. He should see that justice is done, vow or no vow. Justice is more important than the vow.
Father Logan's crime in this film was in allowing a killer to kill again. The blood of the second murder is on Father Logan's hands. A rational society would prosecute Logan for this odious crime instead of admiring him for keeping a stupid vow.
Isn't it obvious that if a vow or a God or a rule or a law requires one to do something unjust, then the vow, God, rule or law is itself unjust?
So Hitchcock is really delivering an anti-religious theme under the guise of admiration for the faithful. Very clever Mr. Hitchcock.
Highly recommended.
Movie Review: Protecting The Priesthood, At What Cost? Amazing Film!
Summary: 5 Stars
This is a Hitchcock film I've never seen before. It had the falsely accused theme that we've seen in other Hitch films, but it was a bit overly melodramatic, a trial with a woman accused of an affair with the priest, and the priest himself who would not reveal that the killer confessed to a murder in the sanctity of the confessional, regardless of the killer's actions.
The film starts with Keller (the killer, get it?) leaving the scene of the crime, as the audience follows the signs ("Direction"!) to a window where we see a dead body splayed on the floor!
Karl Malden (later to become the tough cop on the TV series Streets of San Francisco some twenty years later) gathers the facts and find that the priest, played innocently by Montgomery Clift, could be a part of the murder that occurred.
We learn that Keller is actually the groundskeeper at the very rectory where the priest Logan resides. While the priest is trying to prove his innocence, the killer goes more and more crazy, considers that the priest will betray him to the police.
Keller's wife meantime has the guilt eat her until she's about to burst. Does she protect her husband or protect the priest?
And throughout the film Logan is trying to steer any implication that Keller is guilty and confessed in a confessional away from the police radar -- even to the point of being tried for the crime! And even though Keller's version of the story to the jury (complete, baldfaced lying!) does not jibe with Logan's.
This film is pretty dark in that it confronts the actions of a Catholic priest, his protection of the sanctity of the confessional and what he does to protect that high office.
Hitchcock's imagery is powerful! The priest, torn and depressed, walks the streets of Quebec as we see a silhouette the Roman soldier statues with Christ burdened with his cross.
In this film too is Anne Baxter as the love interest, who does not love her husband but still loves Logan, who himself keeps her at arm's length. Baxter is quite the over the top actress who ramps up the tears and frankly overacts the part.
Montgomery Clift is perfect as the accused priest who will stop at nothing to protect his parishioner, even as that parishioner frames his own priest for murder!
Movie Review: CONFESSIONS OF A HITCHCOCK Fan
Summary: 5 Stars
I CONFESS (Laserdisc) Dir. Alfred Hitchcock
Okay, you are going to find a lot of reiews listing performances and plot, read, THEM. This version is in my TOP TEN of ALL TIME
I enjoy watching Hitchcock crafted films, because of his innuendo use of FORESHADOWING, His superficial chatter, over intrigue and suspicious eye movements, etc.
I confess is the ULTIMATE conundrum. IF you were bound, as the priest is bound, would you, breakdown? If you were presented with the evidence, no matter HOW shocking, Karl Maulden is presented with...WOULD YOU draw a different conclusion? If your first flame, died in war, and you finally let go, and then marry, then find he lives after all, would your love re-flare? IF you were desperate, and, had the opportunity to get out of the situation, tho another would be implicated...would you leave them swinging in the breeze?
EAch time I watch this film, I try to strongly identify with another character, this freshens, each viewing, and, alters the horror of the ending.
Yes, even if I had been implicated. As a compassionate priest, I would hate to see a parishioner/sexton trapped in a shoot-out with an overwhelming police force. Etc.
The MCGUFFIN, of the SEAL OF THE CONFESSIONAL, and the alibi of an implied affair with a married woman, DAMNS the Montgomery Clift Priest in the public eye. The woman, is willing to risk the security of her position as prominent public wife. The police captain is relentless as he tries to solve a murder, performed supposedly by a priest. Etc.
The black and white photography is breathtaking, the summer storm and gazebo is romantic. The sanctuary is cool and comforting. The movie...is very re-watchable!