Most assessments of Alfred
Hitchcock's SUSPICION tend to read the same: a decent film until its
studio-imposed
copout of an ending. According to the familiar version of events,
RKO refused to allow Cary Grant to be cast as a killer, forcing
Hitchcock to tack on a hastily rewritten denouement. Recent
research, however, has revealed that the studio made its demands before
a first draft of the screenplay was even completed, meaning that the
film's ending was in place from day one. (It's true that
Hitchcock would have preferred a darker conclusion with Grant exposed
as a murderer, but the film was never conceived around such an
ending.) Frankly, I don't know what all the fuss is about because
the ending as it stands is perfectly logical. Joan Fontaine is
excellent in an Oscar-winning performance as a slightly more
self-assured version of her REBECCA character, but Grant is even better
in one of his most complex roles as the mysterious Johnnie Aysgarth, a
man with two contradictory personalities. Yet despite its
memorable characters and outstanding performances, as well as
Hitchcock's continued growth as a technician and storyteller, SUSPICION
is a somewhat flat film that really should be better than it is.
But don't blame the ending. I don't, anyway.
½ -
JL