Alfred Hitchcock’s I Confess

A passable yet underwhelming thriller, Alfred Hitchcock’s I Confess follows Montgomery Clift’s Father Michael Logan as he receives a confession of murder from a local parishioner (O.E. Hasse’s Otto Keller) and is subsequently accused of the same crime by Karl Malden’s dogged police officer. It’s a fairly promising setup that is, at the outset, utilized to strong effect by filmmaker Alfred Hitchcock, as the director kicks things off with a stylish opening sequence and peppers much of the first act with compelling, intriguing elements. And while Clift is good (but stiff) in the central role, Alfred Hitchcock’s I Confess benefits substantially from the efforts of a more-than-capable supporting cast – with, especially, Malden and Keller delivering solid work as the inquisitive cop and the smug murderer, respectively. The movie’s watchable vibe begins to dissipate somewhat as it progresses into its generic, run-of-the-mill midsection, as scripters George Tabori and William Archibald emphasize the procedural-like efforts of the police to solve the crime and, eventually, the trial that ensues (ie it begins to feel like a ’50s set episode of Law and Order). The viewer is, as a result, more and more tempted to write off Alfred Hitchcock’s I Confess as an erratic misfire as it progresses, and yet it’s the sporadic inclusion of captivating moments, as well as Hitchcock’s dependably striking visuals, that ultimately keeps things interesting – with the admittedly engaging (and comparatively action-packed) third act ensuring that the film ends on a palpably positive note.

**1/2 out of ****