6.2/10
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50 user 26 critic

Under Capricorn (1949)

Approved | | Crime, Drama, Romance | 8 October 1949 (USA)
A young gentleman goes to Australia where he reunites with his now married childhood sweetheart, only to find out she has become an alcoholic and harbors dark secrets.

Director:

Writers:

(play), (play) | 3 more credits »
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1 win. See more awards »
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Cast

Cast overview, first billed only:
...
...
...
Margaret Leighton ...
Cecil Parker ...
Denis O'Dea ...
Mr. Corrigan
Jack Watling ...
Winter
...
The Coachman
John Ruddock ...
Mr. Potter
Bill Shine ...
Mr. Banks
Victor Lucas ...
The Rev. Smiley
...
Mr. Riggs
Francis De Wolff ...
Major Wilkins (as Francis de Wolff)
G.H. Mulcaster ...
Dr. Macallister
Olive Sloane ...
Sal
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Storyline

In 1831, Irishman Charles Adare travels to Australia to start a new life with the help of his cousin who has just been appointed governor. When he arrives he meets powerful landowner and ex-convict Sam Flusky, who wants to do a business deal with him. Whilst attending a dinner party at Flusky's house, Charles meets Flusky's wife Henrietta who he had known as a child back in Ireland. Henrietta is an alcoholic and seems to be on the verge of madness. Written by Col Needham <col@imdb.com>

Plot Summary | Plot Synopsis

Taglines:

Out Of Her Curtained Past...Came A Man Past All Forgetting! See more »

Genres:

Crime | Drama | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

8 October 1949 (USA)  »

Also Known As:

Les amants du Capricorne  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Color:

(Technicolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

According to the Book "Its Only a Movie", Alfred Hitchcock originally wanted Arthur Laurents to do the screenplay. To the director's chagrin, after reading Helen Simpson's novel "Under Capricorn", Arthur Laurents told Hitchcock that he was the wrong writer for the project. So Alfred Hitchcock hired James Bridie to do the screenplay instead. See more »

Goofs

As the characters gather for the dinner party, fairly early on in the film, the camera tracks backwards across the dining room. The table has been pushed into the path of the camera by the time it comes into view, but the candlesticks are still shaking severely from the jerking appearance of the table (their shaking lessens as the take continues). See more »

Quotes

[first lines]
Narrator: In seventeen-hundred and seventy, Captain Cook discovered Australia. Sixty years later, the city of Sydney, the capital of New South Wales, had grown on the edge of three million square miles of unknown land. The colony exported raw materials. It imported material even more raw - prisoners, many of them unjustly convicted, who were to be shaped into the pioneers of a great dominion. In eighteen-hundred and thirty-one King William the Fourth sent a new governor to rule the colony. ...
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Crazy Credits

Opening credits roll up over a map of Australia. See more »

Connections

Version of Under Capricorn (1983) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Watch it and try not to compare...
15 July 2006 | by (Here and Now) – See all my reviews

If your approach to reviewing this movie is to compare it with Hitchcock's usual style, Under Capricorn will surely not compare. If, however, you can suspend your expectations and view it with an open eye and mind, you might see that, in its own right, it is an excellent film of the type I refer to as the "Victorian soap opera." Being an aficionado of this "genre", perhaps I'm biased; but I enjoyed immensely the leisurely pace, extended dialog (which unlike other reviewers, I found to be intelligent, graceful, and poetic). I found it to be gently suspenseful, never really being sure who would get the girl in the end, or even who might survive to the end.

Joseph Cotton was appealing, even though his character throughout much of the movie seemed to be villainous, and his reasons for being that way were quite apparent by the end of the film. My suspension of disbelief centered around Bergman's casting as an Irish aristocrat: once in awhile she managed to say a word that had an Irish flavor, but mostly she just sounded Swedish. However, that did not detract at all from her usual thoughtful performance. Michael Wilding irritated me a little with his foppish ways, yet even he managed to come off as a human being with faults and virtues...just like the rest of us. Leighton was superb and she, like Cotton, seemed to be a treacherous yet sympathetic character. I think it was the portrayals of complicated people with no one being painted as totally good or bad, the nuanced characterizations that I found so artistic yet real.

If you approach this movie without preconceptions, you might be drawn into it and appreciate Hitchcock's genius in an entirely different way.


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