IMDb > The Paradine Case (1947)
The Paradine Case
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The Paradine Case (1947) More at IMDbPro »

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Down 3% in popularity this week. See why on IMDbPro.
Robert Hichens (from the novel by)
Alma Reville (adaptation)
View company contact information for The Paradine Case on IMDbPro.
Release Date:
26 August 1949 (Sweden) See more »
A happily married London barrister falls in love with the accused poisoner he is defending. Full summary » | Full synopsis »
Plot Keywords:
Nominated for Oscar. See more »
(36 articles)
The Noteworthy: 6 May 2015
 (From MUBI. 6 May 2015, 4:02 AM, PDT)

Daily | Artforum, Hitchcock, Kiarostami
 (From Keyframe. 4 May 2015, 9:49 AM, PDT)

Wright Was Earliest Surviving Best Supporting Actress Oscar Winner
 (From Alt Film Guide. 15 March 2015, 12:05 AM, PDT)

User Reviews:
worth a second look... See more (81 total) »


  (in credits order) (complete, awaiting verification)

Gregory Peck ... Anthony Keane
Ann Todd ... Gay Keane

Charles Laughton ... Judge Lord Thomas Horfield

Charles Coburn ... Sir Simon Flaquer

Ethel Barrymore ... Lady Sophie Horfield

Louis Jourdan ... Andre Latour

Alida Valli ... Maddalena Anna Paradine (as Valli)

Leo G. Carroll ... Sir Joseph
Joan Tetzel ... Judy Flaquer
Isobel Elsom ... Innkeeper
rest of cast listed alphabetically:
Patrick Aherne ... Police Sgt. Leggett (uncredited)
Gilbert Allen ... Undetermined Role (uncredited)
Leonard Carey ... Courtroom Stenographer (uncredited)
Elspeth Dudgeon ... Second Matron (uncredited)
James Fairfax ... Undetermined Role (uncredited)
John Goldsworthy ... Lakin (uncredited)
Lumsden Hare ... Courtroom Attendant (uncredited)
Alec Harford ... Undetermined Role (uncredited)
Sam Harris ... Courtroom Spectator (uncredited)

Alfred Hitchcock ... Man Carrying Cello Case (uncredited)
Colin Hunter ... Baker (uncredited)
Boyd Irwin ... Courtroom Observer (uncredited)
Colin Keith-Johnston ... Clerk of the Court (uncredited)
Kenner G. Kemp ... Courtroom Spectator (uncredited)
Colin Kenny ... Juror (uncredited)
Thomas Martin ... Courtroom Spectator (uncredited)
Lester Matthews ... Police Inspector Ambrose (uncredited)
Phyllis Morris ... Mrs. Carr (uncredited)
Edgar Norton ... Courtroom Attendant (uncredited)

'Snub' Pollard ... Cabby (uncredited)
Bert Stevens ... Barrister in Courtroom (uncredited)
Arthur Tovey ... Courtroom Spectator (uncredited)

John Williams ... Barrister Collins (uncredited)

Directed by
Alfred Hitchcock 
Writing credits
Robert Hichens (from the novel by)

Alma Reville (adaptation)

David O. Selznick (screen play)

James Bridie  treatment in consultation with
Ben Hecht  additional dialogue (uncredited)

Produced by
David O. Selznick .... producer
Original Music by
Franz Waxman 
Cinematography by
Lee Garmes (photographed by)
Production Design by
J. McMillan Johnson (production designed by)
Art Direction by
Thomas N. Morahan  (as Thomas Morahan)
Set Decoration by
Emile Kuri 
Joseph B. Platt (interiors)
Robert Priestley (uncredited)
Costume Design by
Travis Banton (gowns)
Charles Arrico (uncredited)
Makeup Department
Larry Germain .... hair stylist
Max Asher .... makeup artist (uncredited)
Mel Berns .... makeup artist (uncredited)
Layne Britton .... makeup artist (uncredited)
Production Management
Fred Ahern .... unit manager
Argyle Nelson .... production manager (uncredited)
Second Unit Director or Assistant Director
Lowell J. Farrell .... assistant director
Joel Freeman .... assistant director (uncredited)
Art Department
Stanislaw Szukalski .... painter: Valli's portrait (uncredited)
Sound Department
James G. Stewart .... sound director
Richard Van Hessen .... recordist
Edward Ullman .... sound recordist (uncredited)
Special Effects by
Clarence Slifer .... special effects
Camera and Electrical Department
Charles P. Boyle .... fill-in photographer (uncredited)
Eddie Fitzgerald .... camera operator (uncredited)
John Miehle .... still photographer (uncredited)
Costume and Wardrobe Department
Frank Beetson Jr. .... wardrobe director (uncredited)
Eugene Joseff .... costume jeweller (uncredited)
Editorial Department
John Faure .... associate supervising film editor
Hal C. Kern .... supervising film editor
Music Department
Harold Byrns .... orchestrator (uncredited)
Paul Dessau .... composer: additional music (uncredited)
Leonid Raab .... orchestrator (uncredited)
Edward Rebner .... supervisor: piano sequences (uncredited)
Other crew
Lydia Schiller .... scenario assistant
David O. Selznick .... presenter
Alfred W. Burt .... technical advisor (uncredited)
Elsie Foulstone .... dialogue and voice coach: Valli and Jourdan (uncredited)
Paul MacNamara .... director of publicity (uncredited)
Donna M. Norridge .... script supervisor (uncredited)
Helene Weigel .... continuity (uncredited)
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Alfred Hitchcock's The Paradine Case" - USA (complete title)
See more »
125 min | 119 min (re-release) | 132 min (original release) | 94 min (edited television version) | 115 min (re-release) | Portugal:112 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Recording)

Did You Know?

Alfred Hitchcock wanted Robert Newton for the role "William Marsh." But the role went to Louis Jourdan. So the name "William Marsh" was changed to the Frenchman "Andre Latour."See more »
Continuity: When Gay gives Mr. Keane a drink, she completely empties the cocktail shaker. However, after she gives him the drink, she takes the same cocktail shaker and supplies a drink for herself.See more »
[first lines]
Lakin:Dinner will be ready in fifteen minutes, mum.
Mrs. Maddalena Anna Paradine:Thank you, Lakin.
See more »
Movie Connections:


TV Premiere Happened When?
Greer Garson---Was She Suppose to Star in "Paradine Case"?
"Paradine," "Rope"---Why Did Hitchcock Film Them As He Did?
See more »
52 out of 58 people found the following review useful.
worth a second look..., 29 May 2003
Author: a_viewer

Often unjustly dismissed as one of director Alfred Hitchcock's `lesser works,' THE PARADINE CASE stands up as well as any 1940's courtroom drama when taken on its own terms. And the central theme: that of a lawyer passionately (and wrongly) convinced of a beautiful and intelligent client's innocence because he wants to trust his emotions and not the evidence, certainly seems to strike a chord with audiences. It has been used countless times from the silent era to the present day (e.g., MADAME X, GUILTY AS SIN, BODY OF EVIDENCE, etc..). Unlike reviewer stills-6, I found the central triangle-between lawyer Peck, his wife Ann Todd, and lovely client Alida Valli (whose motives are always kept nebulous until the end) believable and surprisingly complex. Each has his/her own agenda; with Peck wavering between the lovely, warm Todd and the beautiful, coldly mysterious and sensual Valli, who seemingly represents an attitude toward love and life he has presumably never known but finds appealing nevertheless. Valli has the most difficult role here, having to both woo Peck to her cause while keeping him emotionally at a distance, but Todd also acquits herself admirably by bringing depth and sensitivity to what could have been just a run-of-the-mill suffering wife role. She refuses to suffer in silence, and uses words to argue her cause passionately, saying wryly at the end: `That's what comes from being married to a lawyer.' Of course, a cynic could point out that when Todd insists Peck defend and acquit Valli she is being unjustly noble-but I think Todd's stoic suffering and her explanations to Peck quickly undercut this idea. (And in fact, if Peck did follow up on his offer to Todd to quit the case halfway through, this wouldn't be much of a movie!)

Indeed, the wordiness of this film seems to be one of its detractors' biggest complaints. But in this I think Hitchcock has (perhaps unintentionally) made a sly point: the characters talk circles around each other (particularly Peck and the always deliciously malevolent Laughton), but manage most of the time to completely miss the realities of the situation. Only the women--the silent Valli, the barely repressed Todd, and the caustic Joan Tetzel--recognize the truth. The men, doomed to arguing and finagling, miss the point-and the truth-completely, in their attempts to sacrifice each other to their own individual causes.

Even considered strictly within the Hitchcock pantheon, it's clear THE PARADINE CASE has many Hitchcockian trademarks: dazzling cameras moves, wonderful imagery, sweeping romantic themes, blurred triangles of love, desire and hate between all the principle characters, brutal men, devious women, an impending sense of doom, and even a character noted for her `masculine' interest in the legal technicalities of the case. (Clearly, Hitchcock found these women pursuing `masculine' interests fascinating, as they seem to pop up in many of his films (e.g., Patricia Hitchcock in STRANGERS ON A TRAIN, Barbara Bel Geddes in VERTIGO). But I also find in the women here a darker prelude of Hitchcockian things to come. No one in THE PARADINE CASE is entirely happy (or even, one might argue, happy at all), but each sticks firmly to her own emotional path, able to see the potential tragic outcome but unwilling to waver enough to change it. (Kim Novak's character follows a similarly torturous internal journey in VERTIGO, as does Tippi Hedren in MARNIE).

So if you have the time to be absorbed by this imperfect but still compelling drama, take another look at THE PARADINE CASE. You might be surprised.

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This film is overrated stratosl
Paradine revisited danashley
Same courtroom set 10 years later spoohadie
Body Of Evidence..? Spheer2002
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