Charlotte 'Charlie' Newton is bored with her quiet life at home with her parents and her younger sister. She wishes something exciting would happen and knows exactly what they need: a visit from her sophisticated and much traveled uncle Charlie Oakley, her mother's younger brother. Imagine her delight when, out of the blue, they receive a telegram from uncle Charlie announcing that he is coming to visit them for awhile. Charlie Oakley creates quite a stir and charms the ladies club as well as the bank president where his brother-in-law works. Young Charlie begins to notice some odd behavior on his part, such as cutting out a story in the local paper about a man who marries and then murders rich widows. When two strangers appear asking questions about him, she begins to imagine the worse about her dearly beloved uncle Charlie. Written by
The bridge in the opening of the movie is the Pulaski Skyway that carries U.S. Routes 1 and 9 between Jersey City N.J. and Newark N.J. See more »
At the first dinner in the Newton home, Young Charlie is humming the "Merry Widow Waltz," she identifies it as the work of Victor Herbert. It was written by Franz Lehar, but no one disagrees with the Herbert attribution. See more »
We're not talking about killing people. Herb's talking about killing me and I'm talking about killing him.
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The ultimate master of suspense Alfred Hitchcock directed his fascinating masterpiece "Shadow of a doubt" at the age of 44 and it was a terrific improvement after the classic "Saboteur" which was definitely a great Hitch movie too, don't get me wrong here. Could it be more simple: this one just had a perfect story that really touched the audience and the whole wicked idea of finding out you have a killer uncle is most exciting when you think of it. It could happen to anybody, I'm sure. No wonder this was one of Hitchcock's own personal favorites. "Shadow of a doubt" may not be the finest Hitchcock-movie of the 40's, though. I admit I haven't seen all of them but I think "Rope" was ever better and "Spellbound" at least just as marvelous but it's safe to say this is one of the most stylish Hitchcock-movies of the decade. What a shame Joseph Cotten never became a bigger star because his powerful performance was one of the most memorable elements of the film.
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