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Under Suspicion (1991)

In 1959 Brighton, disgraced cop turned private detective Tony Aaron works largely on falsifying adulteries for use as evidence in divorce cases. He involves his wife as the fictional ... See full summary »

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Cast

Cast overview, first billed only:
...
Tony Aaron
...
Frank
...
Hazel Aaron
Alan Talbot ...
Powers
...
Waterston
Martin Grace ...
Colin
...
Barrister
Stephen Oxley ...
Hotel Deskman
Colin Dudley ...
Hotel Waiter
Richard Graham ...
Denny
Alison Ruffelle ...
1st Chambermaid
Michael Almaz ...
Stasio
Victoria Alcock ...
2nd Chambermaid
Tony Hughes ...
Undertaker
Alphonsia Emmanuel ...
Selina
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Storyline

In 1959 Brighton, disgraced cop turned private detective Tony Aaron works largely on falsifying adulteries for use as evidence in divorce cases. He involves his wife as the fictional co-respondent for painter Carlo Stasio but the pair are shot dead in the hotel room. In charge of the case is Frank, Tony's ex-partner still on the Brighton force. His most likely suspects are Angeline, Stasio's mistress who is set to inherit his house and pictures, and Tony himself, parts of whose story don't seem to add up. Written by Jeremy Perkins {J-26}

Plot Summary | Add Synopsis

Taglines:

How close can you get to a killer before you're too close?

Genres:

Crime | Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for areas of strong violence and sensuality, and for language | See all certifications »
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Details

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Language:

Release Date:

28 February 1992 (USA)  »

Also Known As:

A Sombra de uma Suspeita  »

Box Office

Gross:

$221,295 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Rankcolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Patrick Bergin dropped out playing the male lead due to creative differences. Liam Neeson was eventually cast in his place. See more »

Goofs

Several scenes are shot on an undercliff walk, using the white cliffs of Peacehaven as a backdrop. This walking area was not created until the 1970-'80s. See more »


Soundtracks

CHRISTMAS ISLAND
Performed by Dickie Valentine (as Dicky Valentine)
By courtesy of The Decca Record Company Ltd
Written by Lyle Moraine
Copyright Northern Music Company
Licensed by MCA Music Publishing
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User Reviews

Nice Made for TV movie
27 February 2003 | by (Deming, New Mexico, USA) – See all my reviews

I don't know if this story really belongs on the big screen. It would have been fine as an HBO special or something. However, the performers are better than one would expect in such a venue.

Liam Neeson is so likable, a tall hulking actor, he seems to loom over whatever scene he appears in. And what a face! His skull seems to have no glabella whatever, his nose droops down out of the middle of his forehead, and yet he's handsome too, in a plain, masculine way, kind of like Spencer Tracy -- no glamor boy, but easy to look at. His voice too is appealing, with its Irish grace notes. And he can act too! Unlike so many brutishly big action stars, this guy can project a smelly sweaty fear, and do it without seeming ridiculous or seeming any weaker than the rest of us would be.

Laura San Giacomo is an apt mismatch for Neeson. Here, in this tale set in 1959, her face is wide and her expressive eyes long and thin. She wears so much makeup she's funereally pale and her Chinese red lip rouge suggests a figure from a Dracula movie. She's tiny standing next to Neeson. His presence makes her look even more elfin, as if he could crunch one of her long bones in his fist. She has a smooth and seductive voice that doesn't sound quite believable. It's hard to forget she's acting. But it doesn't detract from her attractivness. She seems never to have found her proper niche in films; neither, for that matter, has Neeson. They both deserve better than they've gotten, with some exceptions.

The plot is about a couple of murders, a near hanging, a strained friendship, a love affair or two, shots ring out, you're not supposed to carry an unlicensed gun in Britain, can I really trust him/her?, and all together has more twists to it than a corkscrew. Towards the end there is an execution scene that is very crudely done but intensely gripping all the same. (The crosscuts are dizzying.)

I won't give away the ending. Ordinarily the resolution of the plot isn't really as important as what's led up to it, but in this case the end is the best part of the film, or at least the most surprising.

Watching this movie wasn't a waste of time. But, Great Merciful Heavens, I'll never go to Brighton on holiday.


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