Not only was Shadow about 30 years ahead of its time with the treatment of its protagonist, but in not only subject matter but technique feels surprisingly contemporary. If you want to see a Hitchcock film from the period when he was in full control of his artistry presented pretty much as he intended, this is it.Īnd it isn’t a museum piece.
It’s a still compelling, even riveting, work presented in a way that couldn’t be more true to how the film was made, without any jolts triggered by bad elements or overzealous hands at the knobs. As a result, you have a sense throughout both of completely developed characters in believable environments instead of specters drifting through stage-managed dreamworlds.Īnd let’s cut right to it: Shadow of a Doubt is the best 4K HDR Hitchcock release to date. Both Shadow and Strangers stay focused on the material, with the film technique always in proportion, never overwhelming it. Barnum, that’s generated such mass affection for his mid to late ‘50s concoctions from Rear Window through Vertigo to North by Northwest.
I realize that last bit is an arguable, if not controversial, statement, but both of those films rank at the top for me exactly because they don’t exhibit the kind of bravura showmanship, bordering on P.T.
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