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Suspicion Reviews

Page 2 of 32
March 15, 2010
(First and only viewing - 12/13/2010)
July 26, 2014
This Alfred Hitchcock movie is one of his greatest films he directed Carey Grant and Joan Fontaine and supporting cast make this movie shine.
November 13, 2007
Alfred Hitchcock nos presenta este oscuro relato acerca de un vividor (Cary Grant) que tal vez quiere matar a su mejor amigo (Nigel Bruce) o a su sufrida esposa (Joan Fontaine). ¿Será Johnny un asesino? ¿Habrá veneno en ese vaso de leche?
Sgt. Cockstrain
May 26, 2014
Studio interference may have stifled the ending infecting the whole movie with a cursed sense of pointlessness, but this is still a very well made Hitchcock movie that could and should have been even better. Worth a watch, but sadly lacking.
Matt H.
April 23, 2014
Oh Alfie, you've made a blunder here. Suspicion is decidedly boring and loosely plotted. Like most movies early in the career of the Master of Suspense, Suspicion thinks it is a lot better than it actually is. See it if you want to get a glimpse of early Hitchcockian filmmaking, but just be warned.
John B

Super Reviewer

April 23, 2014
Hitchcock knew how to use Grant to his full potential and he is mysterious as heck in this film to good effect. Other Hitchcocks have more of a fan base but this is one not to be forgotten.
November 5, 2006
wow....stunnning....brilliant....amazing....i have just seen this movie 4 the 1st time n think that this is such a brilliant movie 2 watch......its got a good cast of actors/actressess throughout this movie.....i think that cary grant (.R.I.P.), joan fontaine (.R.I.P.), cedric hardwicke (.R.I.P.), nigel bruce (.R.I.P.), dame may whitty (.R.I.P.), play good roles/parts throughout this movie......i think that the director of this drama/mystery/suspense/thriller/classics movie had done a good job of directing this movie because you never know what 2 expect throughout this movie......

Alfred Hitchcock's cameo is a signature occurrence in most of his films. In Suspicion he can be seen (45 minutes into the film) mailing a letter at the village postbox; also earlier in the film at the equestrian gathering, pulling a horse in front the camera right before Cary Grant is reintroduced, though this has not been confirmed.

Fontaine won the Academy Award for Best Actress for her performance. This was the only Academy Award-winning performance under Hitchcock's direction.

its got a good soundtrack throughout this movie.......i think that this is such a really suspenseful movie 2 watch i think that this is such a really well written/acted/directed movie 2 watch its got a great cast throughout this movie......i think that this is such a classics movie 2 watch its got a great cast throughout this movie.......i think that Auriol Lee (.R.I.P.) was great throughout this movie as Isobel Sedbusk throughout this movie.....i think that Leo G. Carroll (.R.I.P.) as Captain George Melbeck was good throughout this movie.......i think that this is such a thrilling classics movie 2 watch its such a really well written/acted/directed movie 2 watch its got a good cast throughout this movie.....the car is
a powerful convertible (a 1936 Lagonda LG45), i think that this is such a classics movie 2 watch its got a great cast throughout this movie......i think that this is such a brilliant movie 2 watch its such a cult classics movie 2 watch it is so really well directed/written/acted movie 2 watch its such a brilliant movie 2 watch with a great cast throughout this movie......
Cameron W. Johnson
Cameron W. Johnson

Super Reviewer

March 10, 2014
Hm, so, let me see, do you reckon this is supposed to be a suspense film or something? Oh man, that is one startlingly obvious and uncreative title! Well, it's not like Alfred Hitchcock's got any more creative after this film, so I suppose this marked an end in Hitchcock's inspiration... many years before "Dial M for Murder", "Rear Window", "To Catch a Thief", "Vertigo", "North by Northwest", "Psycho" and "The Birds. Well, it was at least evidence of Hitchcock losing his inspiration in creative titling, because even this film had enough inspiration to score an Oscar for Best Actress. It's the only Oscar-winning performance in a Hitchcock film, which is kind of bogus, because Joan Fontaine was pretty firmly topped by plenty of people who didn't even get nominations. Well, I don't know if I can give Fontaine all that much heat, because she is very good and the film, and probably would have been better if she had the material that many of Hitchcock's other collaborators got when they were in thrillers in which more stuff actually happened. No, this film has a pretty decent bit of effectiveness, but it's far from the most thrilling Hitchcock thriller, for a number of reasons.

Despite being so character-driven, this drama seems to slam-bang development, sometimes glaringly, while placing only so many layers to its characterization, until you can't help but feel rather distanced from the undercooked, maybe even thin characters, as well as their conflicts, which are distancing enough for other reasons. Flaunting questionable dialogue (Ladies, would you marry a man who nicknamed you Monkey Face?), subtlety issues and other happenings of limited probability, this film too often feels too manufactured as a melodrama, overwrought with Hollywood histrionics that tend to devolve into cheese, one way or another, no matter how much it reaches that point inconsistently. Although it keeps consistent in the questionable probability, the core of this dramatic thriller rather leaps between subtlety, if not fluff, and intensity rather messily, what with its spending too much time dragging along a certain dramatic layer, until it begins to feel aimless. The film's storytelling is overblown, and yet, the story itself does not have the meat to justify so much fat around the edges, because as bloated as this drama's tones and conflicts are, the narrative concept itself is lacking in intrigue, partly because it's just too blasted familiar. I might be a little more willing to forgive all of the developmental shortcomings, inconsistencies and Hollywoodisms if the film was more unique, having some refreshing elements, but many more elements that are more-or-less nothing new, and leave the film to feel hopelessly predictable. The film is well-done in enough places for you to not mind the predictability substantially, but this is nevertheless a worn down path, further roughed up by inconsistencies in tonal and pacing structured, and shameless melodramatics, until one might find this flick too great of a challenge to decency. There's enough laziness here to drive the final product into mediocrity, yet at the same time, there's enough inspiration to save the film as fairly decent, particularly in such areas as visual style.

A black-and-white affair, this film's visual style is dated, but for the time, it's outstanding, and still mighty remarkable to this day, with Harry Stradling Sr.'s cinematography making haunting plays on shadows that stress lighter moments beautifully, while making the darker moments bleak in a fashion that is immersive in a thriller like this. Despite its being dated, this film's visual style is undeniably impressive for what it is, actually putting coloration limitations to good use in order to absorb a sense of tonal layering that is more organic than the tonal layering within Samson Raphaelson's, Joan Harrison's and Alma Reville's script, and couldn't have been pulled off without Alfred Hitchcock's stylish directorial celebration of the film's visuals. His framing relatively impeccable, Hitchcock augments the substance value of the film's visual style with a tight attention to intimate imagery, while playing with atmosphere sharply enough to keep pacing from slipping so deeply into its slow spells that it bores, if not entertain through plays on Franz Waxman's colorful score. Really, if the film has nothing else going for it, it is entertainment value, which, even then, is limited, but not to where it fails to sustain a fair consistent degree of your attention, eventually incorporating dramatic highlights which draw such attention to the narrative's potential. The story concept is melodramatic and familiar, and its execution would be all over the place in tone if it wasn't so draggy in its layered progression, but as a study on a wife's gradual discovery of dark secrets within her beloved husband that grow darker and darker as the path to success grows brighter and brighter is nothing short of intriguing, sold reasonably well by Hitchcock's efforts, as well as the efforts of the performers. The characters are lacking in development and layers, and are made all the harder to buy by the histrionics, but their portrayals do what they can, with charisma and relatively solid dramatic depth, particularly within the beautiful Joan Fontaine, whose lead performance particularly sells the character-driven conflicts every step of the way. While Fontaine's performance isn't particularly outstanding, I wish that the rest of the film was more worthy of it, rather than borderline mediocre, and yet, there's enough bite to this drama to save the film as decent and adequately effective, even though it could have sunk its teeth much deeper.

Once the tension finally breaks, the film all but falls into mediocrity under the weight of a minimalist story's being handled with limited development, Hollywood histrionics, inconsistencies in pacing and tone, and much in the way of conventions, yet enough support comes from solid cinematography, reasonably effective direction and good performances - particularly the lead one by Joan Fontaine - to secure Alfred Hitchcock's "Suspicion" as a decent, if somewhat lacking dramatic thriller.

2.5/5 - Fair
July 22, 2013
It would have got 4 stars if they went with Hitchcock's darker ending.
February 2, 2014
Suspicion is an amazing film. It is about a shy young English woman marries a charming gentleman and then begins to suspect him of trying to kill her. Cary Grant and Joan Fontaine give incredible performances. The screenplay is well written. Alfred Hitchcock did a great job directing this movie. I enjoyed watching this motion picture because of the drama and mystery. Suspicion is a must see.
December 19, 2013
Hitchcock returns to themes of domestic mistrust, paranoia and deceit in a film that is a little less dark than Rebecca but nevertheless is just as good, despite it being counted inexplicably as somewhat of a minor work in his filmography. Suspicion is, in fact, very gripping and full of intriguing and rather intricate psychological plots that, perhaps in the film's most remarkable feat, ably leads us to question Cary Grant's usual charming persona a dangerous individual. Joan Fontaine is superb in this film and her portrayal of internal conflict makes the film all the more effective, thus it is no wonder that she was awarded with an Oscar for her role as the loyal yet insecure Lina - the only one for a performance directed by the master of suspense.
December 17, 2013
I really wanted to like this one a bit more than I did, but the idea of her loving Grant's boorish ne'er-do-well character just bugged me, as he's just not THAT Goddamned charming.

Perhaps it will grow on me with a repeat viewing, but for now I must give it a tentative 'Rental' suggestion and leave it at that.
December 14, 2013
A very nuanced performance by Grant, can't say the same about Joan Fontaine though. Nigel Bruce was great too.
May 7, 2009
Cary Grant was wonderful, but if I was a wife with those same suspicions I wouldn't have stayed around to be murdered.
October 3, 2013
The title says it all. A wife thinks her husband wants to murder her. It's Alfred Hitchcock and Cary Grant in on of their many pairings. Not enough mystery and thrills to make this Hitchcock film memorable, but Fontaine is good in her Oscar-winning role as the suspicious wife.

Grade: B
September 6, 2013
Slow at some points and it continues to build up to the suspenseful climax that only Hitchcock can provide.
July 30, 2008
I have a sneaky suspicion (sorry) that I had in fact seen this before. Certainly the opening scene on the train. This is a solid effort from Hitch. Cary Grant and Joan Fonataine are both great leads on good form. The alternative ending is definitely the stronger of the two.
August 19, 2013
It was good, very suspenseful. It kept me wondering if she was going to survive the movie.
gerardo r.
August 7, 2013
A solid Hitchcock suspense film. Joan Fontaine falls head over heels for the first man that shows any interest in her. She elopes and soon starts to wonder about the nature of her husband: is he truly a free spirit or is he scheming a criminal way to live as a leach. Each new "suspicion" raises the stakes (Hitchcock considered the title too "trashy").

Cary Grant does an excellent job in creating doubt for the main character but also for the viewers. Anyone going into the film with no preconceived notions is in for a surprise and tense viewing. The first thirty minutes build up the high society drama that underpins the film and then it takes off on a new life as they get in deeper and deeper into despairing debt. Joan Fontaine plays the naive but also forceful character successfully providing a well rounded character in a true spiritual struggle to find her place in her new unfamiliar territory. Their friend "Beaky" also plays the bumbling friend well and provides good, natural comedic relief.

Hitchcock provided many memorable scenes. The black and white photography is integral to a proper appreciation of the film. One of the famous scenes is where an overhead shot captures Grant carrying a glass of milk that glows in the dark up the steps to his wife. This is an essential film from Hitchcock that should be viewed and the first one that shows Grant's diversity in his acting skills beyond pure comedy and romance. Grant could not leave behind easily his goofy humor, but it appears in a new light in this film.

The ending has been a source of controversy because Hitchcock was not allowed to shoot his intended ending where Grant was clearly seen poisoning his wife and his wife dutifully follows through while giving Grant a letter to deliver where she reveals her husband as her killer. Whether the studios feared the reaction of the audiences or typecasting for Grant, they would not allow him to appear as a villain. The ending as it stands can be taken in two ways: the naive mind could see it as a happy ending, or the cynical mind sees the ending as "until next time." For that reason, I think that Hitchcock provided an appropriate and effective ending.
July 9, 2013
The first half of this film is full with cheesy jokes and cheesy romance but once the second half of the film beings, that's when Suspicion provides us brilliant suspense and a great mystery that keeps us guessing till the very end.
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