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: 7.34 Likes

  • Genre: Crime | Drama
  • Quality: 1080p
  • Size: 1.85G
  • Resolution: / fps
  • Language: English
  • Run Time: 95
  • IMDB Rating: 7.3/10 
  • MPR: Normal
  • Peers/Seeds: 1 / 1

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

[Director]Alfred Hitchcock
[Role:]Brian Aherne
[Role:]Montgomery Clift
[Role:]Karl Malden
[Role:]Anne Baxter

The Reviews for I Confess (1953) 1080p

Intriguing and thrilling movie by the Master of Suspense in which a good priest is accused of killingReviewed byma-cortesVote: 7/10

Entertaining suspense movie packs thrills ,intrigue , tension and ordinary Hitch touches . Indispensable seeing this quintessential Hitch movie , demanding various viewings . Classic and haunting suspense by the master himself , Hitchcock , dealing with tragic events when a priest (Montgomery Clift) takes confession from a man who coincidentally killed a blackmailer who he knew of pre-vows relationship with a married woman (Anne Baxter). Refusing to give into police investigators' questions of suspicion, due to the seal of confession, the Father becomes the prime suspect in a murder. The murderer is called Otto Kellar (O.E.Hasse) and his wife Alma (Dolly Haas) work as caretaker and housekeeper at a Catholic church in Quebec . Meanwhile , the priest named Fr. Michael Logan walking through the town, passes in front of a cinema showing ¨The enforcer¨.

Interesting Hitch film shot in Canada's colorful Quebec by Warner Bros , being based on the 1902 play "Nos Deux consciences" by Paul Anthelme, but little is known about any production of the play. However , in the original play, the priest was hanged ; this scene had to be eliminated and replaced with another scene to avoid the wrath of the censor. Alfred Hitchcock's films have become famous for a number of elements and iconography : innocent men wrongfully accused, blonde women , long non-dialogue sequences, etc . Hitch apparently decided to leave this movie location unspecific and without recognizable landmarks and filmed it in the city of Quebec . In spite of some shortcoming , this is the picture that best reflects many of Hitchcock's puritanical ethics . Hitch plays on the senses and keeps the suspense and action in feverish pitch . All the elements for a suspenseful evening are in place and things move at an intelligent pace . The story is typical Hitch fare , an issue of wrong accusation , dual guilt , and treason that embroils a man in murder . Hitch had two of most charming actors of all Hollywood as Montgomery Clift and Anne Baxter . As a pretty good acting by Montgomery Clift as a priest falsely framed of killing and Anne Baxter as his old friend who cannot handle the situation wrought in her life by the gross injustice . Montgomery Clift drank during the shooting and his eyes appear glazed during the ferry scene , Hitchcock was a very non-confrontational director and delegated an assistant director and Karl Malden to talk to the actor about it . Supporting cast is frankly excellent such as Karl Malden as Inspector Larrue , Brian Aherne as prosecutor Willy Robertson , O.E. Hasse as Otto Keller , Roger Dann as Pierre Grandfort and Dolly Haas played Alma Keller in this film ; Haas was selected to play "Alma" Keller, because of her physical resemblance to Hitchcock's wife Alma Reville . As usual , Hitch's cameo as man walking , as he is uncredited crossing the Top of Long Staircase . Atmospheric and moody cinematography in evocative style by Robert Burks , Hitch's ordinary . Very good sets and production design by Haworth and Beckman . Riveting and thrilling musical score by classic Dimitri Tiomkin .

The motion picture was well directed by Alfred Hitchcock , he was famous for making his actors follow the script to the word, but in this movie the Hitch's method filmmaking clashing with Clift's method interpretation and the result falls short of the Master of Suspense's best pictures and never quite comes off at all . This is one of Hitch's most stylish and discussed films and will keep you riveted and excited until the edge-of-your-seat .

Under-appreciated and poignant Hitchcock gemReviewed bypyrocitorVote: 9/10

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.


The trouble is that the story is intriguing but has no suspense.Reviewed bypiapiaVote: 6/10

There are not worse mystery stories than those that are resolved by a confession. This picture starts with a confession, and starts well. But the very complicated, and very absurd story's denouement is another confession: The real murderer confesses by shooting people. Hitchcock himself said to Francois Truffaut that he did not remember why he bought the old play in which this picture is based. Lots of coincidences do not construct a suspense story.The picture is saved by the performances of Montgomery Clift (even if it is slightly monotonous), Anne Baxter and Anny Ondra. Imagine a Hitchcock picture without humor!

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