IMDb > Shadow of a Doubt (1943)
Shadow of a Doubt
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Shadow of a Doubt (1943) More at IMDbPro »

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Shadow of a Doubt -- Trailer for the Hitchcock classic.

Overview

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8.0/10   39,062 votes »
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Director:
Writers:
Thornton Wilder (screenplay) &
Sally Benson (screenplay) ...
(more)
Contact:
View company contact information for Shadow of a Doubt on IMDbPro.
Release Date:
15 January 1943 (USA) See more »
Genre:
Tagline:
A Blast of DRAMATIC Dynamite exploded right before your eyes!
Plot:
A young woman discovers her visiting "Uncle Charlie" may not be the man he seems to be. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Nominated for Oscar. Another 1 win & 2 nominations See more »
User Reviews:
"Average families are the best" See more (217 total) »

Cast

  (in credits order) (verified as complete)

Teresa Wright ... Young Charlie

Joseph Cotten ... Uncle Charlie
Macdonald Carey ... Jack Graham

Henry Travers ... Joseph Newton
Patricia Collinge ... Emma Newton

Hume Cronyn ... Herbie Hawkins
Wallace Ford ... Fred Saunders
Edna May Wonacott ... Ann Newton
Charles Bates ... Roger Newton
Irving Bacon ... Station Master

Clarence Muse ... Pullman Porter
Janet Shaw ... Louise
Estelle Jewell ... Catherine
rest of cast listed alphabetically:
Bill Bates ... Undetermined Role (uncredited)
Virginia Brissac ... Mrs. Phillips (uncredited)
Frances Carson ... Mrs. Potter (uncredited)
Earle S. Dewey ... Mr. Norton - Traffic Cop (uncredited)
Sarah Edwards ... Doctor's Wife on Train (uncredited)
Edward Fielding ... Doctor on Train (uncredited)
Karen X. Gaylord ... Undetermined Role (uncredited)
Vaughan Glaser ... Dr. Phillips (uncredited)

Alfred Hitchcock ... Man on Train Playing Cards (uncredited)
Shep Houghton ... Ballroom Dancer (uncredited)
Ruth Lee ... Mrs. MacCurdy (uncredited)
Eily Malyon ... Mrs. Cochran - Librarian (uncredited)
John McGuire ... Detective (uncredited)

Charles Metten ... Teen at Crosswalk (uncredited)
Shirley Mills ... Shirley (uncredited)
Constance Purdy ... Mrs. Martin - Landlady (uncredited)

Robert Quarry ... Undetermined Role (uncredited)
Isabel Randolph ... Mrs. Margaret Green (uncredited)
Grandon Rhodes ... Rev. MacCurdy (uncredited)
Byron Shores ... Detective (uncredited)
Edwin Stanley ... Mr. Green - Bank President (uncredited)
Minerva Urecal ... Mrs. Henderson - Clerk at Telegraph Office (uncredited)

Directed by
Alfred Hitchcock 
 
Writing credits
Thornton Wilder (screenplay) &
Sally Benson (screenplay) &
Alma Reville (screenplay)

Gordon McDonell (from an original story by)

Produced by
Jack H. Skirball .... producer
 
Original Music by
Dimitri Tiomkin (original musical score)
 
Cinematography by
Joseph A. Valentine (director of photography) (as Joseph Valentine)
 
Film Editing by
Milton Carruth (film editor)
 
Art Direction by
John B. Goodman 
 
Set Decoration by
Russell A. Gausman (set decorations) (as R.A.Gausman)
 
Costume Design by
Vera West (costumes)
 
Second Unit Director or Assistant Director
William Tummel .... assistant director
Ralph Slosser .... second assistant director (uncredited)
 
Art Department
Robert F. Boyle .... associate art director (as Robert Boyle)
Edward R. Robinson .... associate set decorator (as E.R. Robinson)
Dorothea Holt .... illustrator (uncredited)
 
Sound Department
Bernard B. Brown .... director of sound
Robert Pritchard .... technician
 
Visual Effects by
John P. Fulton .... special photography (uncredited)
 
Costume and Wardrobe Department
Adrian .... gowns: Teresa Wright
 
Music Department
Charles Previn .... musical director
 
Other crew
Adele Cannon .... set continuity
 
Thanks
Thornton Wilder .... we wish to acknowledge the contribution of, to the preparation of this production (as Mr. Thornton Wilder)
 
Crew verified as complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Shadow of Doubt" - USA (poster title)
See more »
Runtime:
108 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Recording)
Certification:
Argentina:16 | Australia:PG | Brazil:14 | Canada:PG (Ontario) | Chile:18 | Finland:K-16 | France:U | Germany:16 | Ireland:PG | Peru:18 | Portugal:M/12 | South Korea:15 (2004) | Spain:13 | Sweden:15 | UK:A (original rating) | UK:PG (tv rating) | UK:PG (video rating) (1993) | USA:TV-PG | USA:Approved (PCA #9011) (original rating) | USA:PG (re-rating) (1984) | West Germany:16 (nf)

Did You Know?

Trivia:
"Shadow of a Doubt" was the script title but was listed as only a "temporary title" until a better title could be found.See more »
Goofs:
Continuity: In the beginning of the film, when the landlady enters Uncle Charlie's room, he is lying on the bed with his hands crossed on his belly holding a cigar. For a moment he appears with his hands and the cigar on his chest.See more »
Quotes:
Ann Newton:Honestly, Father, you'd think Mother had never seen a phone. She has no faith in science. She thinks she has to cover the distance by sheer lung power.See more »
Movie Connections:
Soundtrack:
The Merry Widow WaltzSee more »

FAQ

Is 'Shadow of a Doubt' based on a book?
Does Hitchcock have a cameo in "Shadow of a Doubt"?
Is Uncle Charlie really the Merry Widow Murderer?
See more »
13 out of 13 people found the following review useful.
"Average families are the best", 22 February 2009
Author: Steffi_P from Ruritania

Alfred Hitchcock's style as a director was a bit like a train – it ran perfectly well, but only along its own lines. He wasn't comfortable adapting his style to suit the material, but when the material suited his style he could do incredible things.

Three years and five pictures into his Hollywood career, Hitch had been having some trouble finding projects he was comfortable with. He had made a couple of adventure thrillers in the vein of his late 30s British films, but the old magic wasn't there. Finally, with Shadow of a Doubt he came upon a project that was right up his street. It represents a welcome return to the domestic murder dramas that had given him his earliest successes (The Lodger, Blackmail), with a storyline ideal for Hitchcock. It is the purest example of murder in a "normal" setting, bringing the audience uncomfortably close to the killer, helped along with plenty of the grisly gallows humour that the Master loved.

Hitch's British pictures had great charm and character, but they were often technically a little haphazard. By now though he knows exactly how to use the camera to manipulate the audience. He begins by carrying us into the story, sweeping in over the city through scenery both pretty and ugly, to home in on an average looking neighbourhood. From then on, every shot, move and edit is calculated to keep up the suspense and unfold the plot. Whereas those early films were swamped and sometimes spoiled by showy camera tricks, Hitch now uses those techniques sparingly, like playing a trump card. For example, he has Joseph Cotton look directly into the camera for a brief moment as he snatches the newspaper back from Theresa Wright. Another trick is to have the camera dolly back as a character advances, only at a faster speed than the actor is moving, which gives a very dizzying effect.

Special mention should also be made of Dimitri Tiomkin's score. Tiomkin was the best composer Hitch worked with before Bernard Hermann, and one of the few who really understood how a Hitchcock film needs to be scored. His sparse string arrangements really capture that sense of spiralling terror without overpowering the scene and turning it into melodrama. He interpolates Franz Lehar's Merry Widow waltz at just the right level, making it noticeable but never overstated– throwing in just a bar or two at an opportune moment, sometimes disguising it in a minor key.

We also have a great cast lined up here. This is among Joseph Cotton's finest performances, which is unusual because Hitch was not a brilliant director of actors. I believe the reason is that, although his soft, honest features meant he usually played clean-cut good guys (as well as making him the perfect choice for the friendly uncle no-one would suspect), he was actually at his best when playing villains. That air of affected friendliness, which gives way to a deadpan monotone, is ironically far more convincing than when he attempted to play genuine niceness. Theresa Wright also does a brilliant job of handling her character's transition from childlike innocence to knowing cynicism. The icing on the cake is a couple of spot-on comic relief supporting parts from Henry Travers and Hume Cronyn.

It's quite appropriate that in his cameo for Shadow of a Doubt, Hitchcock is shown holding all the cards, because here he really did have all the elements working in his favour. It marks the beginning of his golden age and lays down the blueprint for such classics as Rear Window, Vertigo and Psycho. This is about as close to perfect as Hitchcock's pictures get.

Was the above review useful to you?
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