They’re human beings!” Uncle Charlie wonders “Are they? Are they human or are they fat, wheezing animals, hmm? And what happens to animals when they get too fat and too old?” Indeed, Uncle Charlie is the killer his niece suspects him to be.īy introducing a murderer into the average American home, Alfred Hitchcock’s Shadow of a Doubt refines the director’s most persistent theme down to its essential components: The prevailing notion that something dark lurks underneath the surface of things exists in nearly each Hitchcock film. Horrible, faded, fat, greedy women.” Young Charlie interjects, “They’re alive. Proud of their jewelry but of nothing else. Drinking the money, eating the money, losing the money at bridge. And what do the wives do, these useless women? You see them in the hotels, the best hotels, every day by the thousands. And then they die and leave their money to their wives. At the mere notion of city women, Uncle Charlie goes off: “The cities are full of women, middle-aged widows, husbands dead, husbands who’ve spent their lives making fortunes, working and working. Usually, Young Charlie couldn’t be happier to see her uncle, except she suspects him of something awful after he hides a newspaper headline about The Merry Widow Murderer, the killer strangling lonely rich widows in cities along the East Coast. Visiting his sister in the picturesque Santa Rosa, California, an idyll of small-town America, Uncle Charlie sits down for the customary family dinner. She idolizes him and expects his presence will break up the monotonous routine of her dull, predictable family members. Uncle Charlie has come home, much to the delight of Charlotte, otherwise known as Young Charlie, nicknamed after her uncle.
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