I Confess
by Alfred Hitchcock
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Actor: Anne Baxter, Brian Aherne, Karl Malden, Montgomery Clift, O.E. HasseDirector: Alfred Hitchcock
Brand: Warner Brothers
Cinematographer: Robert Burks
Producer: Alfred Hitchcock
Editor: Rudi Fehr
Producer: Sidney Bernstein
Writer: George Tabori
Writer: Paul Anthelme
Writer: William Archibald
DVD: Region Code 1
Audio: English (Unknown), Mono; English (Subtitled); Spanish (Subtitled); French (Subtitled); English (Original Language), Mono; French (Dubbed)
Format: Black & White, Closed-captioned, Dubbed, DVD, NTSC, Subtitled
Picture Format: Academy Ratio, 1.33:1
Running Time: 95 minutes
DVD Release Date: 2006-02-14
Audience Rating: NR (Not Rated)
Model: 31863
Studio: Warner Home Video
Product features:
- Otto Kellar and his wife Alma work as caretaker and housekeeper at a Catholic church in Quebec. Whilst robbing a house where he sometimes works as a gardener, Otto is caught and kills the owner. Racked with guilt he heads back to the church where Father Michael Logan is working late. Otto confesses his crime, but when the police begin to suspect Father Logan he cannot reveal what he has been told
DVD Reviews of I Confess
DVD Review: Semper Fidelis
Summary: 5 Stars
Hitch had made many "wrong man" movies prior to and after this, such as "The 39 Steps," "Saboteur," "North by Northwest," and of course, "The Wrong Man." What separates this from all the rest is that the movie's protagonist, Father Michael Logan, does not embark on a sudden cross-country quest to find the real murderer. In fact, the murderer -- German refugee Otto Keller -- is right under Father Logan's very nose all along, and Logan knows his guilt, because Keller has confessed the murder to Logan forthrightly.
Thus the suspense here results from the crisis of conscience Logan is put through, and few celluloid heroes have been put through the wringer the way Montgomery Clift's has been. His is a crucial moral dilemma: Divulge Keller's confession and get himself off the hook, or stay silent and perhaps be hanged.
Though Hitchcock held Stanislavsky "method" actors in disdain (Clift made shooting difficult, constantly defering to his acting coach on the set), he clearly could spot a great actor when he saw one. Montgomery Clift's portrayal of Logan complex and heartfelt. He invests his character with thoroughly believable intellect and emotion, and gives one of the greatest performances of a man of integrity the screen has ever seen. The viewer can easily empathize with him and the incredible pressure he must be under. Yet, the message is clear: Father Logan is a man of the true faith -- for by keeping true to the sacrament of confession, he keeps his soul intact and demonstrates his unyielding belief in the salvation of even the most tainted of souls, Keller's.
The tension is even further racheted up a notch, because as Keller fears the police closing in, he badgers and taunts Logan, accusing him of cowardice, suspecting him of breaking. The study in contrasts could not be greater. O.E. Hasse (ironically, "hasse" being the German word for "hate") exudes hate as the ratty instigator Keller. He definitely belongs in the patheon of evil Hitchcockian villians, like Norman Bates, Bruno Anthony, Mrs. Danvers and Madame Sebastian.
Anne Baxter, Karl Malden and Brian Aherne round out the cast with great performances. Baxter is conflicted and gorgeous as the married woman still enamored with Logan, who loved her before he assumed his priestly vows; Malden is nimble and self-assured as the detective who finds that the evidence points to Logan; Aherne is smarmy and vicious as the Crown prosecutor who goes after Logan tooth and nail. Dolly Haas, the great German stage actress, is thoroughly believeable as Keller's wife. Throughout the movie, she -- knowing her husband's murder -- acts like a scared rabbit, which is doubly ironic, since "Haas" is Dutch for "hare"!
"I Confess" was shot on location in Quebec City, and does for its vistas what "Vertigo" did for San Francisco. DP Robert Burks, helming his second Hitchcock film, paints the French-Canadian city in shades of shimmering white and charcoal black. His camerawork evokes the Gothic majesty of its cathedrals and Christian iconography, placing Father Logan in a deceptively sympathetic visual context while imprisoning him within the shadows of its dank cobblestones and Keller's skulking presence.
The great and unheralded Russian composer Dimitri Tiomkin -- who scored more Hitchcock soundtracks than any other composer except Bernard Herrmann -- builds an equally dark and evocative score around the Catholic "Dies Irae" chant that summons up both doom and judgment, echoing Liszt's "Totentanz" and Rachmaninoff's "Die Toteninsel."
There are many who consider this one of Hitchcock's minor classics. I could not disagree more: "I Confess" is definitely one of the Master of Suspense's greatest films, an underrated masterwork, akin to Orson Welles' "Touch of Evil" or Billy Wilder's "Ace in the Hole." It is solid on so many different levels, and rivals "Vertigo," "North by Northwest," "Notorious," "Psycho" and "The Lady Vanishes" for its visual power and seamless construction.
Description of I Confess
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