I Confess (1952)
Average Rating: 7.1/10
Reviews Counted: 23
Fresh: 19 | Rotten: 4
No consensus yet.
Average Rating: 5.4/10
Critic Reviews: 5
Fresh: 2 | Rotten: 3
No consensus yet.
Average Rating: 3.6/5
User Ratings: 7,240
Based on the turn-of-the-century play Our Two Consciences by Paul Anthelme, Hitchcock's I Confess is set in Quebec. Montgomery Clift plays a priest who hears the confession of church sexton O.E. Hasse. "I...killed...a man" whispers Hasse in tight closeup--and, bound by the laws of the Confessional, Clift is unable to turn Hasse over to the police. But police-inspector Karl Malden has a pretty good idea who the guilty party is: all evidence points to Clift. It seems that the dead man had been
Jan 1, 1952 Wide
Sep 7, 2004
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The movie is more interesting than achieved: it's the most forthright statement of the transference theme in Hitchcock's work, but it's also the least nuanced.
While Hitchcock short-changes on the expected round of suspense for which he is noted, he does bring out a number of topflight performances and gives the picture an interesting polish that is documentary at times.
A good, workmanlike thriller, I Confess is only fair-to-middling Hitchcock.
Alfred Hitchcock's famous talent for brewing a mood of fine suspense with clever direction and cutting is spent on a nigh suspenseless script.
It's entertaining, and the visuals speak volumes more than the over-cooked dialogue. Worth a look.
Clift lets guilt channel through his matinee idol looks, a brief reminder of his more powerful performance in George Stevens' A Place in the Sun. (From Hitchcock 101)
The sincerely intense performances by Malden and Clift make this minor Hitchcock tale seem like a major Hitchcock tale.
The biggest crime surrounding I Confess is the generally indifferent reception that the film has received over the years
One of the most astonishing-looking films in all of black-and-white cinematography.
May or may not rank with Hitch's greatest masterpieces, but its premise offers perhaps the most compelling variation on his favorite theme, the innocent man wrongly accused.
I Confess suggests Hitchcock's experimental urge to incorporate less overt artificiality into his vision.
Gripping and haunting.
Occupied the top spot on their Hitchcock chart in its time, but has since been usurped in the minds of contemporary critics by the filmmaker's later, slicker productions.
Weak Hitchcock entry.
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