RKO was excited about the picture, and certainly about the film’s casting which included Cary Grant, Joan Fontaine and Nigel Bruce. With Grant cast as the film’s lead, Johnny Aysgarth, an adulterous murderer, and Fontaine as his new bride, Lina, his victim, the studio began to fear that allowing audiences to see the “heroic” Grant murder the delicate Fontaine would irreparably damage Grant’s box-office appeal. And, so, as was often the case, the film’s script began to diverge from the original novel with Hitchcock being forced to change the ending—a fact about which Hitchcock would complain for the rest of his life.
Despite the change to the ending, the film stays relatively true to the book. Johnny may not be a murderer, but he is a cad and a playboy who is unapologetically attracted to the quasi-dowdy Lina because of her family’s enormous wealth. Johnny’s infidelity is toned-down to the point that it’s all but erased, but his behavior is nonetheless suspicious.
Grant is typically charming and attractive in the film, and, Fontaine gives her usual brilliant, fragile performance. Nigel Bruce is always a delight, playing the same type of daffy Englishman he always plays as Johnny’s slightly simple friend, Beaky.
Though the dangerous elements of the film have been subdued, it’s still an exciting thriller, and we’re left wondering about Johnny’s true intentions throughout. Hitchcock proves that he truly was the Master of Suspense with his signature cinematic trickery—most notably a scene with a glowing glass of milk.
This is a lush, taught film with excellent performances, gorgeous sets and costumes, crisp dialogue and a top-notch soundtrack. It’s the perfect pre-Valentine’s Day treat. Just romantic enough for the occasion, but just creepy enough for any day.
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