![]() ![]() Then it’s off to Santa Rosa and pop-Freudian thrills. Hitchcock makes great use of urban space here: ![]() Long before the ’67 riots became an excuse to condemn Newark, here’s a British suspense filmmaker’s rather unflattering establishment of the city:Ĭotten spends the first several minutes in an SRO flophouse, then evades some mysterious pursuers through the Ironbound. Indeed, the IMDB-not wholly reliable, but still useful-suggests this was the only film shot in Newark between the 1910s and the 50s.Īs such, it’s a valuable visual record, beginning with its opening sweep across the Pulaski Skyway. But still, I am willing to bet (and will test this with a Facebook trivia poll of my friends when I post this) that few people realize Hitch was shooting here. Okay, it’s not entirely forgotten, since I was just scooped on this by the Star-Ledger (dammit). Less remembered is the opening scene scene, shot in Newark. ![]() In any case, Joseph Cotten in quaint, sunny Santa Rosa, menacing his niece Theresa Wright, while they barely suppress incestuous desire, that’s what people remember about Shadow of a Doubt (exept Sonic Youth, who titled a song after it but then based its lyrics on a different Hitchcock movie, those wacky young ‘uns). Mostly remembered as the ur-text of Creepy Uncle movies, Shadow of a Doubt lingers near the top of Alfred Hitchcock’s B+ tier-not quite his A game of Psycho or Vertigo, but part of his energetic wave of early-40s American work, before he lost his footing later in the decade with duller stuff like The Paradine Case and Under Capricorn. ![]()
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