![]() I want to say that there is something to this film that feels genuinely refreshing for the time, yet in so many more areas, this film wasn't anything all that new back in the day, and has certainly not gotten any more unique through the ages, nor has it gotten any more meaty. ![]() While genuine enough in its portrayal by the storytellers and performers, this story is a little too melodramatic for its own good at times, and that shakes the intrigue of this opus, which would certainly be more interesting if it wasn't so blasted familiar, on top of being so blasted histrionic. Of course, the melodrama's depth is bloated enough, not so much in material, but in subtlety, because in entering Hollywood, Alfred Hitchcock sees Hollywood histrionics all throughout Philip MacDonald's and Michael Hogan's script, whose subtlety issues range from off-putting to glaring, and abate only so often. The film's story concept offers lot of potential for material that ultimately all too often feels all too hurried in its coverage, yet the final product still runs well over two hours, getting to that point on the back of excessive filler, if not material that not only gets to be repetitious, bloats the efforts' overall dramatic structure. Not even giving you the courtesy of a lead with a definitive name, this film opens right up providing hardly any extensive background information, and when it comes to gradual exposition, it too gets to be lacking, largely because there are moments in which major plot points feel slapdashed in the narrative's structure. Oh well, this is still a decent start to quite the run for Hitchcock as an honorary American treasure, despite the shortcomings. Seriously though, folks, get your celebration on, because this marked Hitchcock's first of many American projects, or at least that's what they said it was, even though Laurence Olivier's presence pumps up the British factor something fierce. who were born in Tokyo, or whatever Joan Fontaine was. Hey, we all know about how Hitchcock was as big of a flirt as he was big, so I find his bringing Fontaine back for "Suspicion" pretty, well, suspicious, as though he was getting used to American women. Well, I'm sticking with the "South Park" one, because even though Joan Fontaine isn't playing the titular Rebecca, even though she is the lead, she really was quite good-looking, as Alfred Hitchcock could have told you. I'm sorry, I understand that this film is ostensibly sophisticated and whatnot, likely just because it's old, but even though I haven't watched "South Park" in quite some time, I can't help but think of that song that Kyle sang to the homeschooled girl in "Hooked on Monkey Fonics" that went something like, "Rebecca, you really are quite good-looking you're a fox!" Well, come to think of it, the only other songs to refer to that are named "Rebecca" are by comedy rock duo "Flo & Eddie", and pop songs by Japan's Nokko and Russia's Tesla Boy, so I guess there's no making a non-comical song reference here.
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