![]() ![]() ![]() And the frugal production had no adverse effects on critical reception: In a favorable review, TIME drew special attention to the scenery, noting, “Its horror is compounded by its setting. Though he ended up spending more on travel costs, Hitchcock was able to keep the materials budget under $3,000. Instead of building a studio version of a typical American city, his main setting, he searched for a ready-made one. To shoot scenes supposed to take place in New Jersey, he traveled cross-country and shot them in New Jersey. ![]() Instead of elaborate sets he used the real thing. Hitchcock normally spent at least $100,000 on movie sets, so the director had to think creatively in order to give Shadow of a Doubt a high-value look on a paltry budget. The legendary movie was also one of Hitchcock’s most frugally made.ĭuring World War II, the War Production Board imposed limits on the film industry in the U.S., capping film set budgets at $5,000 (around $68,000 in today’s dollars) in order to minimize the unnecessary use of materials. Hitchcock himself suggested in interviews that it was his favorite work from his expansive oeuvre-and indie filmmakers everywhere should take comfort in that. “The film where Hitchcock first discovered America.Alfred Hitchcock’s Shadow of a Doubt is widely considered one of the most masterful films in the history of cinema. “Hitchcock is perverse enough to suggest that the murderer’s bitter clarity is in greater touch with life than is the feeble virtue of the town’s residents.” Directed by: Alfred Hitchcock Cast: Teresa Wright, Joseph Cotten, and Macdonald Carey As good as any film Hitchcock ever made, this unsettling masterpiece. “Hitchcock's first indisputable masterpiece.” With support from the Robert Jolin Osborne Fund for American Classic Cinema of the 1930s, ‘40s, and ‘50s. LOUIS), and Hitchcock’s wife (and closest collaborator) Alma Reville. Starring Joseph Cotten, Teresa Wright, Henry Travers, Macdonald Carey, Patricia CollingeĪs wealthy widows keep disappearing, victims of the so-called “Merry Widow Murderer,” Joseph Cotten's lovable Uncle Charlie visits niece Teresa Wright in her average American town – a cozy family scene, until he’s heard whistling “The Merry Widow Waltz.” Often claimed as Hitchcock’s own favorite, this is perhaps his ultimate evocation of evil nesting among the mundane (and, along with PSYCHO, only one of two Hitchcocks with a villain as central character), with authentic Americana provided by screenwriters Thornton Wilder (OUR TOWN), Sally Benson (MEET ME IN ST. ![]()
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