I Confess (1953)

4/5

I Confess is a wonderful lost gem from Hitchcock's oeuvre. A priest (Montgomery Clift) is falsely accused of murder and, despite knowing who the real murderer is, he decides to keep silent because it was revealed to him during confession. In typical Hitchcock style, the composition and camerawork were excellent, but the complex and realistic characters were the best part of this movie. Much like Casablanca, the audience's emotional attachment to each character shifts throughout the film, switching back and forth between love and hate as information is gradually revealed. I loved how seemingly minor characters (such as Keller's wife) emerge as being vital to the plot, tension, and even message. The acting by all parties was very good overall, although at times a bit too exaggerated. While the story plodded along in the middle (and was interesting although not particularly suspenseful), the thrilling finale was especially brilliant. It went deeper into the consequences of the characters' actions than you thought it would, and the characters themselves feel much fuller and richer as their motivations and regrets (or lack thereof) are further revealed.

I felt that some of this movie was below average and could have been heavily improved upon. The script had some problems, not in dialogue, but in overall structure. The heavy use of flashback in Anne Baxter's interrogation, coupled with its clunky style and lack of rhythm, simply did not work. The trial could have and should have been made more compelling; it seemed as if there was no climax here, merely a playing out of events. And while the score by Dimitri Tiomkin wasn't bad, it has nothing on the perfectly seamless integration Hitchcock usually has with Bernard Herrmann. I also have no idea why the film was set in Quebec; it just seemed odd. The rest, though, is an unexpected joy to behold, and is highly recommended.

IMDb link: http://imdb.com/title/tt0045897/

On the Waterfront (1954)

5/5

"I coulda had class. I coulda been a contender. I coulda been somebody. Instead of a bum, which is what I am. It was you, Charlie." These immortal words spoken by Marlon Brando remain in the memory of anyone who has seen this unforgettable film. I think it's hard to realize Brando's screen presence shrinks all supporting actors' performances that they seem laughable, where in any other film they would be lauded. That's not all that's diminished by Brando's strengths. The cinematography is crisp, well-composed, and very often evocative of a mood derived from the angle from which it's shot. Kazan's personal history with the subject matter presented no doubt elicited a more intense involvement with the film, allowing it to surpass most directorial efforts. The symbolism is so obvious when you look for it, but because you are taken in with every word the actors speak, every evolution of the story, you don't realize it until after multiple viewings. And believe me, you'll want to see this movie again.
IMDb link: http://imdb.com/title/tt0047296/