"I Confess" is the most under exposed/appreciated/rated of Hitchcock's films. It is as convincing (except for the minimal flashbacks) as "Shadow of a Doubt" in terms of both its art and its reality. Its mise en scene captures Quebec City, its specifically Catholic culture, its history, its moral dramas, and its character types. I think Clift and Baxter are perfectly cast, as are Aherne and Maldon. Keller and Alma truly hit home as Catholic parish staff and carry effectively much of the drama and suspense of this true Hitch sleeper, which is also a memorable romance. (There is indeed a great deal of genuine emotion and deep feeling in this very ordinary and convincing world).
I Confess (1953) 1080p YIFY Movie
I Confess (1953) 1080p
I Confess is a movie starring Montgomery Clift, Anne Baxter, and Karl Malden. A priest who comes under suspicion for murder cannot clear his name without breaking the seal of the confessional.
IMDB: 7.33 Likes
The Synopsis for I Confess (1953) 1080p
Otto Kellar and his wife Alma work as caretaker and housekeeper at a Catholic church in Quebec. Whilst robbing a house where he sometimes works as a gardener, Otto is caught and kills the owner. Racked with guilt he heads back to the church where Father Michael Logan is working late. Otto confesses his crime, but when the police begin to suspect Father Logan he cannot reveal what he has been told in the confession.
The Director and Players for I Confess (1953) 1080p
The Reviews for I Confess (1953) 1080p
hitch's sleeperReviewed bycappy-9Vote: 9/10
As Alfred Hitchcock is my favourite director of course I would see I Confess. And on the most part I wasn't disappointed, for my tastes Dmitri Tiomkin's music score is too much of a drone(unusual for Tiomkin) but while not among Hitchcock's finest I Confess is what I consider Hitchcock's most underrated(Stage Fright got that honour before I saw this though). We do know who the killer is right at the start and after the first 40 minutes it is somewhat more talky and not quite as suspenseful as other Hitchcocks, there's also the unfamiliarity at the time of the Catholicism codes. It is strikingly shot, helping a lot with the atmosphere, and the settings and costumes are rendered nicely too. The dialogue is talky but is thoughtfully written and gripping, just don't expect the wit of North By Northwest and To Catch a Thief or black humour of The Trouble with Harry and Family Plot(it's not that type of film) and be thankful that it isn't overwrought and stilted like Under Capricorn, Juno and the Paycock and Paradine Case. The story is quite slow but very atmospheric with a suspenseful(in that you wonder whether Logan will betray the confessional's secrets or not) first 40 minutes and reasonably tense climax, like 39 Steps and North By Northwest it is a classic wrong man story with also the idea of guilt seen in Strangers on a Train. The idea of Logan's dilemma throughout the film is one we can relate to, no matter how unfamiliar it was at the time, and it is relevant today I think. Hitchcock's direction is fine, and so are the performances. I can see why people may not like Montgomery Clift's performance, but I loved his brooding intensity and methodical nature for the difficult role he has to do, a similar style of acting to Paul Newman in Torn Curtain but far more convincing. In fact for any of the actors who did any of the brooding intense roles for a Hitchcock film that aren't Cary Grant or James Stewart, I consider Clift one of the better ones. Anne Baxter is very good as a less likable but just as interesting character, while Karl Malden is perfectly cast and Brian Aherne does menacing and sympathetic rather well. All in all, not typical for Hitchcock but it is a great film and his most underrated. 9/10 Bethany Cox
Upon viewing in a current day context, it is a genuine shame that I Confess, visionary director Alfred Hitchcock's follow up to his smash hit Strangers on a Train, was greeted with such a stigma of controversy and negative reaction. While it is true that having a priest as the lead character in what was essentially marketed as a suspense thriller may have been a storytelling trait slightly ahead of its time, (the religious connotations must have no doubt caused some mumblings of discontent back in 1953) but it does lead to a simply brilliant and unique story premise: Father Michael Logan (Clift) hears the confession of a murder from a man working in his rectory, but due to the sanctity of confession, can break his trust and tell no one, even when he himself is framed for the murder, unable to clear his own name.
Hitchcock is in familiar territory here as he revamps his trademark "wrong man" plot, but with the interesting tweaking of the lead role - instead of the protagonist fighting to clear his name when he is wrongfully accused, Father Logan must instead struggle in silence, dutifully refusing to breach the confidentiality of confession. This submission of the lead character did not sit well with audiences, nor Hitchcock himself when the film was first released,but this is ultimately what makes I Confess stand out among so many of Hitchcock's similar thrillers, without ruining the plot in the slightest - the suspense element is still there, albeit slightly more serious (there are no light heated wisecracks here) and subdued, as the audience still clings to the edge of their seats, wondering how Father Logan's name will be cleared without him personally attempting to clear it. And despite the complaints in regards to the film's 'forced religious messages', it is hard to comprehend the reputation as there are none really, apart from the lead character being a priest. Hitchcock handles his subject matter, (including the priest character being suspected of murder and having an alleged love affair) with just as even a hand, and as careful and classy a touch as in all his other efforts.
Also, I Confess proves to be not only Hitchcock's last film in black and white (except for Psycho seven years later) but also one of his strongest films in terms of visual style and feel for the film. The Quebec location and sets are pitch perfect throughout, and Hitchcock and cinematography director Robert Burks deploy subtle but innovative cinematography techniques throughout to heighten the mood, making more liberal use of camera movement and extended shots of behind characters heads, as if hiding their inner turmoil from the audience - a superb touch. Composer Dimitri Tiomkin's score toes the line of becoming too dramatic, but it settles as being suitably powerful and affecting. The screenplay by George Tabori and William Archibald is an intelligent piece, not afraid to push social boundaries given the time period, though it is disappointing that the motivation of Clift's character is more often than not chalked up to martyrdom, when the real intent was to demonstrate his struggle to remain faithful to his principles and faith.
As usual, Hitchcock also proves to be an expert actor's director, as the cast turn out universally excellent performances, each one emoting surprisingly genuinely and proving particularly convincing in their roles. Montgomery Clift gives a superb performance as the priest in question, Father Logan, remaining subtle to the point of seeming not to emote throughout, yet hinting at surging emotions kept carefully under a facade of calm. Anne Baxter is also a notable presence, one of the more memorable of Hitchcock's icy blondes as the mysterious woman connected with him, and she manages to retain interest enough to keep the audience interested through a long and potentially hazardous and tedious voice-over flashback sequence. Karl Malden is charismatic and engaging as the police officer investigating the murder case, and Brian Aherne is perfectly cast as a suave yet sleazy prosecutor. German actor O.E. Hasse debatably steals the show as the actual murderer, switching from despairing, to coldly logical, to sadistically enjoying Father Logan's plight as he is accused of the murder they both know he did not commit.
All things considered, it is a real shame I Confess is one of Hitchcock's more overlooked films, as the sheer quality and inventiveness bursting out of every frame should be easily enough to cement the film alongside other classic thrillers and dramatic films of the decade. Don't let the alleged religious connotations and occasional bad reviews steer you away - this is one of Hitchcock's strongest works, as the unique variation on his time worn themes, combined with a visually sumptuous look, a quick and intelligent script and a consistently impressive cast easily make the film worth a watch.