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I love Shadow of a Doubt, it's one of my favourite Hitchcock films. I've seen it many times, and each time I get something out of it. For one thing, all the players are perfect in their roles. Nobody could have played Charlie, the innocent but very smart young girl who's the lead character, as well as Teresa Wright does. She really nails the dawning realization that her beloved uncle is not at all what she'd always adoringly thought he was -- it's a key moment in the film when she reads the article in the paper and discovers the truth about him. Wright really captures all the complex emotions Charlie would be feeling: denial (at first), shock, sadness, disillusionment, horror, disgust, and finally, fear. But all the actors are good in this. I really enjoy the ongoing "how to commit murder" conversations between Henry Travers and Hume Cronyn- they're both so funny ! Two bit players who never get mentioned, but who in their own way really add to the flavour of the film, are Charlie's friend Catherine - Estelle Jewell, never saw her in anything else, but she's hilarious as the plain Jane friend who seems ready to flirt with anyone male in sight, even Wallace Ford ! She's always smiling demurely and looking at the ground. Also, another peer of Charlie's, the pretty but weary young waitress at the bar Charlie and her uncle slip into. I think her character's name was Louise, she was played by someone called Janet Shaw (?) I love it that even though she's from the same graduating high school class as Charlie, her path has taken a very different turn. She can't get a "respectable" job, so she's waitressing at the local dive. The way she speaks when she explains why she's working there to Charlie, and when she looks at the ring- there's a world of sadness and resignation and weariness in her voice, even though she can't be any older than 19 or so. She only has about 5 minutes, but they're memorable. One thing that really struck me this time round: Charlie knows her uncle is dangerous, that he's a killer. And yet she clearly does not hide what she knows about him. She cannot pretend that she feels the same way about him. Especially after his two attempts on her life (the broken stair and the carbon monoxide filled garage), you have to wonder why she doesn't try to hide her fear and loathing of him. She makes him suspect she's going to turn him in -- and she would, if not for her concern for her mother. When she finds the incriminating ring back in Uncle Charlie's drawer, instead of keeping it to show her detective boyfriend, she walks down the stairs and clearly reveals it to her uncle. Why wouldn't she by this time have been fearful that any further indication from her that she is a threat to his escape will endanger her? Of course, it makes for very dramatic cinema, I guess that's why. It's interesting that Uncle Charlie's dark deeds all occur off-camera, before the story begins. This way it's easier to understand why the innocent Newton family trust and like him so much. Well, not all of them. Just as dogs always seem to know a bad 'un one they see one, the two kids, especially the precocious little girl, Ann, know there's something wrong with him. Anyway, I understand why Eddie includes this as a noir. It's the idea of evil lurking in the midst of goodness, that things are not what they seem. It's the idea of being trapped. Not Uncle Charlie, it's young Charlie who's trapped. She knows her uncle's terrible secret, but feels she can't do anything about it. One could make an argument that almost all Hitchcock's work in one way or another is noir (except for Mr. and Mrs. Smith ), because there's darkness of one kind or another in so many of them. But Hitch 's movies are in a category of their own, so I suppose if you had to say one of them was a film noir, Shadow of a Doubt would fit the bill.

Tom, you are right. I should have mentioned Joseph Cotten's wonderful performance in Shadow of a Doubt. He was unforgettable as the psychopathic killer who tries to put on a "normal" front when he flees to his sister's home. I say "tries", because, as the clip you posted here demonstrates, the cracks show when he talks about certain topics. It's interesting, by the way- interesting and disturbing - to ponder just why Uncle Charlie committed these murders in the first place. It's been mentioned already that he really did not put much value on money per sec, leaving it lying around, etc. The money seems to be incidental to his hatred of the "fat lazy widows" who "eat and drink" their money. It's almost as though he feels he's some kind of angel of death on a mission to rid the world of these poor ladies ( not "poor ladies" to him, though, obviously.) And Cotten gets his bizarre, pathological contempt for the rich widows across perfectly. The viewer feels a chill almost as much as the family around the table does after this ominous speech. Yes, Joseph Cotten was a great actor, and it's a shame he's not as much recognized as some others are from the classic Hollywood period. I agree, all you have to do is watch The Third Man and Shadow of a Doubt to appreciate his versatility.

The Lodger (1927) TCM 7/10 A man renting a room is suspected of being the killer of several women in London. This was my first viewing of this early Hitchcock silent film. Despite it being on so late last night, I was engrossed enough to watch it all the way through. It had many of the Hitchcock touches even though this was his first thriller. It was the first time we see the obsession with blondes as all the victims are fair haired women. Ivor Novello has a striking looking face and was very good in the title role. An interesting thing has a triangle forming between the Lodger, the landlady's daughter and the cop on the case. The climax involving an angry mob, the Lodger and a pair of handcuffs still packs a punch.

He didn't seem to care too much about his money. Remember the opening scenes when his landlady finds bills all over the floor, and his surroundings weren't exactly posh. He didn't seem to spend a lot on things (other than clothes and cigars). I'm sure it was all because he didn't want to be easily tracked, and carrying cash makes you more mobile (can pick up and leave at a moment's notice). The detectives in Santa Rosa weren't the same guys seen in the earlier scenes back east, but they did travel to Santa Rosa chasing after Charlie (stated as such by the detective after their first dinner date). The newspaper article seen in the library stated there was a nationwide hunt for two men as suspects. Perhaps it was the FBI? Before funds were moved around electronically, larger bills were common. Denominations of $500, $1000, $5000 and $10,000 were available to the general public, and larger notes were available to financial institutions for the transfer of funds between them. $40,000 in the 1940s was more money than many people would have accumulated in a lifetime, especially coming out of the Depression (over $500K today)

Kim Novak was NOT in Rear Window, that would be Grace Kelly. Kim was in Vertigo. And Doris Day was in the second version of The Man Who Knew Too Much. Eva Marie Saint was in North by Northwest. All these women were talented, beautiful actresses. I don't mean to be all wrist-slappy and judgemental, but honestly, Thompson, it's a pretty easy matter to look up who appeared in which Hitchcock films.

THE CELLULOID CLOSET on TCM tonight 9:30pm EST

The Young Lions Sergeants 3 Gunga Din Never So Few Bataan

From Here to Eternity Private Benjamin Cast a Giant Shadow Paths of Glory Glory (with Denzel)

Ya know, I have wondered why TCM never replaced Rob Zombie with another Underground host after his departure. Gee, maybe they should have that Karger guy doin' it??? (...nah, on second thought, I don't think he'd be a good fit for this one, huh)

I'm tellin you what.... PICTURE IT: A DESOLATE, FREEZING FEBRUARY NIGHT IN NORTH CAROLINA, TEN YEARS AGO Me: bored out of my mind, suffering from seasonal depression, no television at the time, only my laptop computer monitor to view movies on youtube, and what do i come across but THE DEVILS in 25 parts on YOUTUBE- and it was COMPLETELY UN-CUT, THE VERSION WITH THE NUN DIDDLING HERSELF WITH THE CHARRED THIGHBONE and ALL THE NUDITY and OR GY SCENES AND EVERYTHING!!!!!!!- and it just SNAPPED ME OUT of my DEEP SEASONAL/REGULAR RUT OF DEPRESSION and IN THE ODDEST WAY, SHOCKED ME BACK TO LIFE! One of the reasons I like "perverse" or SHOCKING films is their ability to act as a sort of at home SHOCK TREATMENT to snap me out of a profound funk or depression.

I mean, an encore of MANDINGO, i could appreciate, but do we need to see WHAT'S THE MATTER WITH HELEN again???????

Instead of recording SISTERS '72 on TCM Underground, I just borrowed a copy from the library. I like both Margot Kidder & Jennifer Salt and this is Brian DePalma's directorial debut, so I had pretty high expectations. Margot Kidder's performance was astoundingly good, she successfully kept a French Canadian accent and suspended my disbelief the entire movie. Jennifer Salt was not her sister, but instead a neighbor, who calls police when she sees a murder take place in an apartment (Kidder's) window. Obviously DePalma is paying homage to Hitchcock's films in several ways in this movie, very successfully imho. He's not relying on Hitchcock tropes to tell the story or be amusing, just kind of using some of the same elements to tell this very different story. The weakest part of this story is- even I guessed what was going on & I can't figure out the villain in the simplest Charlie Chan or Dead End Kids B picture. So the simplistic plot is really not very engaging or suspenseful. I was kind of struck by several aspects of the story that are horribly dated, especially police's dismissive attitude towards Salt's accusations. That said, I also know it's bad form to tell an officer what they have to do, ie "you've got to arrest her" "search her apartment" etc. LOL the morality issue that anyone who engages in first date sleepovers can expect to pay....with their life! The other low point was the effects, especially the red paint standing in for blood. Red color was laughably unrealistic, as were the stab wounds only shown in quick cuts a la PSYCHO. The strongest points were Margot Kidder (she's just fabulous even in a stinker) and the frame compositions. There was a lot of use of split screens which I quite enjoyed. After all a director photographs both sides of a conversation, it's kind of cool seeing them play simultaneously. This movie made me realize there just isn't enough good Margot Kidder movies out there.

Uncle Charlie should be drummed out of the serial killers club for being dumb enough to keep the ring of one of his victims that could be traced. Ms. Charlie gets it, he gets it back and instead of tossing it out keeps it up in his room where she gets it again. Hey bub, pay a little more attention to what you're doing and less attention to those repetitive speeches about how behind every house there's a whole sewerfull of nasty goings on, blah, blah, blah. But perhaps that is a part of his rather lackadaisical attitude toward things including money, which blows the banker's mind and I always laugh at. I've mentioned this before, but Ms. Charlie has it made. She sits on her rear most of the time between trips to town and dinner time. Nice work if you can get it. I felt sorry for the low energy waitress in the dive. But wasn't it called something like the two o-clock club. By the time the two Charlies come in late at night that waitress is probably on her last legs and can't wait to get the heck out of there, good tip or not. Give the poor girl a break. And last and least, that newspaper "house" totally sucks man.

Not a real fan of this one. I hold this near the bottom of all Hitchcock. It can't be the worst because i have seen Vertigo. IMO this does not fit the MO of a Hitchcock, it lacked the edginess that he was so good at. This needed a Bernard Hermann moment. It plays rather conventionally to me. I was bored most of the time. Teresa was excellent and I like the performance of the actress who played her mother. The little girl was a hit. Early on she says, "I like to keep my mind free on things that don't matter." Wow, such wisdom from the mouths of babes. If she ever writes a self-help book, I may buy it. I did not think that Louise was a plain Jane. Speaking of edginess, she had a little of that in her face. Love those glasses, Louise, don't lose them. Dorothy Parker was wrong about that. I hope Eddie Muller is all right. Maybe he just went on a diet.

I enjoyed Eddie Mulller’s intro and outro, as I always do, so I hate to point out a factual error in his SHADOW OF A DOUBT intro. While talking about the interesting and varied group of writers that contributed to the script, Eddie said that writer Sally Benson wrote a book called “Junior Miss” that became the basis for the movie MEET ME IN ST. LOUIS. This wasn’t the case. Benson’s book “Junior Miss” was actually the basis for a play, movie, and radio show of the same name. (By the way, the movie JUNIOR MISS is excellent.) MEET ME IN ST. LOUIS was instead based on Benson’s series of vignettes in The New Yorker published under the title “5135 Kensington,” an address mentioned in the movie’s song “The Boy Next Door.” Benson was a versatile writer. Besides SHADOW OF A DOUBT, she also wrote screenplays for movies as varied as ANNA AND THE KING OF SIAM and VIVA LAS VEGAS. Anyway, aside from this one glitch, Eddie did his usual great job of choosing and introducing an interesting and, to me, unexpected movie for Noir Alley this week. Thanks, Eddie!

Shadow Of A Doubt (1943) was on Noir Alley. This is my favorite Hitchcock film and also in my top ten favorite films of all time. One thing I liked about it is the killer, Uncle Charlie is one of the most unlikely villains in movies up to that time. He is a well dressed, charming gentleman so no one would suspect. His niece, also named Charlie, adores him and when she finds out the truth, her whole world is shattered. Both of them feel that they more than uncle and niece, more like twins. But Uncle Charlie is the dark side whereas Young Charlie is sweetness and light. We first meet Uncle Charlie in a depressing boarding house and then we see Young Charlie's idyllic, almost dream like small town. Then Uncle Charlie arrives and brings nightmares. One of the most striking and "noir" like scenes is when the two confront each other in shadow, Young Charlie shows a bit a of dark side when she threatens to kill her uncle. There is also expected black comedy relief supplied by the eccentric neighbor Herbie, who is fascinated by murder stories, not realizing a real murderer is living next to him. Hitchcock supplies all his usual ingredients as well as the final ironic touch of Uncle Charlie being hailed as a great man by townspeople.

Because Rod Taylor was suffering from a case of Eloi fever. Anyway, Rod's loss was Bob Newhart's gain.

Tom, excellent post and I agree. Joseph Cotten's performance in Shadow of a Doubt cannot be overlooked. He is very effective as the seriel killer and you're right under Hitchcock's direction and Joseph Cotten's understated yet chilling performance, Uncle Charlie is a very frightening character .Cotten was an excellent actor in every film I've seen him in and the whole cast was great. Without a doubt, Shadow of a Doubt, is a terrific film.

With the possible exception of Bogart, no Hollywood star appeared in more good to outstanding films during the '40s than Joseph Cotten. Citizen Kane, Magnificent Ambersons, Journey Into Fear, Shadow of a Doubt, Since You Went Away, Gaslight, Duel in the Sun, Portrait of Jennie, The Third Man. It was a remarkable run. If he was appearing in junk towards the end of his film career (like a lot of other actors - Carradine, Karloff, Chaney, Lugosi, Rathbone, etc.), who the heck today even remembers a Baron Blood as opposed to Citizen Kane, Shadow of a Doubt or The Third Man? Joseph Cotten's film legacy is assured, even if he as an actor (look at the contrast between his psychopathic charmer in Shadow of a Doubt as opposed to bumbling everyman in The Third Man) is perhaps a bit undeservedly overlooked. Even on this thread, with all the recent comments about Shadow of a Doubt, while Teresa Wright's performance deservedly received praise, I didn't notice a single poster single out Cotten's great performance in the film. One of the most chilling scenes in the film revealing the mind of a psychopath, thanks to Hitchcock's direction and Cotten's performance:

REDHEADS IN THE CINEMA All of these film feature actors and actresses who are natural redheads. Mary Astor James Cagney Jessica Chastain Rhonda Fleming Greer Garson Susan Hayward Katherine Houghton Leslie Howard Ron Howard Bryce Dallas Howard Van Johnson Danny Kaye Deborah Kerr Myrna Loy Ann Margaret Shirley MacLaine Jeannette McDonald Agnes Moorhead Maureen O’Hara Mary Pickford Debbie Reynolds Susan Sarandon Moira Shearer Ann Sheridan Red Skelton Sissy Spacek

Who's Minding the Mint?

Shoulder Arms (1918) The Big Parade (1925) The General (1927) Platoon (1986) Full Metal Jacket (1987) Gettysburg (1993) The Thin Red Line (1998) Ride With the Devil (1999) 1917 (2019)

Beulah Bondi

1948

Battleground 1949 Red Badge of Courage 1951 Pork Chop Hill 1959 Patton 1970 The Big Red One 1980 Saving Private Ryan 1998 We Were Soldiers 2002

BATAAN was probably Desi's best movie role.

I’ve got Bronze Obamacare... so, yes.

I think Dave’s creepy enough. It might actually be a great fit. (I like Dave, but I’ve come to see your point from a while back about his uncanny valley like and OMNIPRESENT smile.)

Yes, Janet Shaw. So good in that brief scene. I've seen her in a couple Bs but nothing else. I think one was a Saint or Falcon movie.

my unDERground WISH LIST: (SOME OF WHICH HAVE PLAYED ON TCM BEFORE) a DOUBLE FEATURE of THE DEVILS and THE BOY FRIEND! SCARS OF DRACULA Some of BORIS KARLOFF'S godawful MEXICAN HORROR MOVIES he did right before he died any MEXICAN VAMPIRE movie for that matter. NIGHT OF THE CREEPS RETURN OF THE LIVING DEAD (1985) which was shown not too long ago and which shows up on a lot of streaming services, but really, it's the CASABLANCA of PSYCHOTRONIC FILMDOM, it deserves an annual airing at least. I DRINK YOUR BLOOD- I just love this one! (more to come)

Paul Bartel Next: SKYJACKED (1972)

I think we all know that the coldness to be found in most Kubrick films is a reflection of the coldness of the director himself. He was not a man who could empathize with others and, of course, he was a classic control freak.He disowned Spartacus, for example, one of the best Roman toga epics ever made, because so much of it was the vision of its producer/star (Kirk Douglas). There is battle scene in the film in which Spartacus had to chop off the arm of a Roman soldier. It was a dangerous stunt inasmuch as a one armed stunt man had to wear a prosthetic arm in order to have it cut off. But there could have been a serious accident to that stunt man in the process. Kubrick didn't care and insisted upon retakes which Douglas refused to do for fear of injury to the man. So for you to say that Kubrick made life hell for Shelley Duvall while shooting the axe scene or re-shooting it and re-shooting it again comes as no surprise. That doesn't make Kubrick unique. Other directors could be monsters, as well, but Stanley was definitely a cold one and it had to be challenging for any actor of sensitivity or self doubts to work with him, at times.

also, DANNY PEARY in his book INSIDE OSCAR, gave MARGOT KIDDER an ALTERNATE BEST ACTRESS NOMINATION for her work in the 1981 film HEARTACHES, I can't find a trailer for it online, but I can find the entire film on u-yay ube-tay (I wont post it here lest i offend any moderators or copyright GODS) JUST KNOW THAT IT'S THERE. She is also in a less bad than usual episode of TALES FROM THE CRYPT, the HBO series that served as a sort of CABLE TV MURDER SHE WROTE for fallen film stars in the early 1990's (ie, a gig you did to make a house payment because no one else would touch you and you sure as HELL weren't gonna do NETWORK.) it's also on youtube in full and there are worse ways to kill twentysome minutes, provided you skip over the CRYPT KEEPER and his shrieking intro. THATs's HER IN THE MAKE-UP: EDIT: She also has a VERY EFFECTIVE small part in ROB ZOMBIE'S UNFORTUNATE SEQUEL TO HIS UNFORTUNATE HALLOWEEN REMAKE, She plays a psychiatrist to the survivor of the first film (don't worry, she lives.)

Bound (1996) A kept woman falls for the ex-convict doing plumbing repairs next door. Their future together depends on neutralizing the man keeping her and picking up any loose cash laying around as a nest egg. The facts that he is a vindictive and violent psychopath and they are taking two million in mob money complicates matters. I knew of Jennifer Tilly from her lighter comedy roles and so the intensity of her performance here surprised me. She presented with astounding clarity her heterosexual-by-trade but lesbian-by-nature situation. I believe that: 'intensity' is a good description of many aspects of this movie. The timing and staging throughout the movie imprint the action very strongly on the viewer's mind. The fact that every character is duplicitous adds greatly to the complexity. I am sorry to say that there is violence and gore which may dissuade some viewers. It is a minor percentage of the movie but it is rather intense. 8.2/10 I can currently find it streaming only on: Paramount+.

Forward, reverse it wouldn't matter, that car would level that garage.

John Mills was in Bright Young Things (2003) with Dan Ackroyd, and in Hobson's Choice (1954) with Charles Laughton. Next: Mae West and Orson Welles

Wait, a sec. Lemme compare the two of 'em here, Bronxie... ...and now... Oh Yeah! NOW I see what ya mean! They're like TWINS separated at BIRTH!!! Especially around the nose area, huh. (...how could I ever question you?!) LOL

Hmmmmm...so Bronxie, I take it this is just an offshoot of that whole Rabbitittus thing of yours, RIGHT??? BUT, with some people looking like "fish" to ya instead of "rabbits" of course. (...now, I think the specific clinical term for THIS one is actually "Ichthyoritus", but don't quote me in this...I never got past the first year of med school, ya know)

Where the Wild Things Are (2009) Being John Malkovich (1999) Spike Jonze directs Catherine Keener

Roman, Ruth

Rear Window - Grace Kelly and North By Northwest - Eva Marie Saint. Very good actresses, as are Pleshette and Hedren. You must have extremely high standards for actors or is it just actresses?

The Honey Pot (1967) A man invites three past loves to his place to squabble over what they will inherit from him. I would state that the lead is underhanded, devious and just generally a cad and a lout but that would be redundant as I already identified him as a man. There are a few fairly interesting twists in this deconstruction of a romantic comedy. The cast is unimpeachable: Rex Harrison, Susan Hayward, Cliff Robertson, Capucine, Edie Adams and Maggie Smith. All their performances are first-rate if not particularly inspired. 7.2/10 Available free with commercials for a few remaining days on: TubiTv.

Yeah, maybe, but wasn't the BRUNETTE actress in it pretty darn cute?!!! Well, until she got her eyes pecked out anyway. And which NOW brings up the thing I always thought was THE most questionable aspect about this Hitchcock flick. Yep, and even MORE so than the whole idea of birds attacking humans. (...and THIS being, why in the world would Rod Taylor pick the blonde over HER???...what was WRONG with that guy anyway?!!!)

James Caan Next: on the cover of Vanity Fair magazine

Self medicating eh?

As for flicks I'd like to see on Underground should she win her struggle against the Man- Alejandro Jodorowsky's El Topo and the Holy Mountain Luis Buñel's Exterminating Angel L.Q. Jones adaptation of the Harlen Ellison's novella A Boy and His Dog Russ Meyer's pre Beyond the Valley of the Shadow of the Dolls films. Especially Mudhoney, Motor Psycho, and Faster Pussycat Kill! Kill! Lars von Trier's Danish television miniseries the Kingdom and it's sequel the Kingdom II (and hopefully convince him to finish the trilogy) Anything, please anything (!) from Doris Wishman Conrad Rooks' Chappaqua Any of Robert Downey Sr.'s movies I'd be happy with some/all/any of those

Alice Guy-Blaché - Basically invented the role of " film director", as being separate from the camera operator. You might need tissues.

Isabelle Adjani in QUEEN MARGOT (1994) Next: lots of espionage