Patsy Brand is a chorus girl at the Pleasure Garden music hall. She meets Jill Cheyne who is down on her luck and gets her a job as a dancer. Jill meets adventurer Hugh Fielding and they ... See full summary »
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 <email@example.com>
(at around 1h 02 mins) By way of mentioning an invitation to a ball, Charles tells Hattie and Sam, "Oh by the way, I have a bit of news for you," but his mouth is closed for much of the sentence. See more »
[last lines of the movie]
We'll be sorry to lose you, sir.
Hon. Charles Adare:
If I may say so, Winter, I'm sorry to go. Not a bad place. It is said that there is some future for it, there must be- it's a big country.
Then why are you leaving, sir?
Hon. Charles Adare:
That's just it, Winter. It's not quite big enough. Bye, good luck.
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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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