The family is thrilled, especially his teenage niece (Teresa Wright in a wonderfully nuanced performance), who was named Charlotte after him (both go by “Charlie”), as she just adores her Uncle Charlie. Charles Oakley (a brilliant Joseph Cotton) who’s been away from his family for many years, returns home to them rather unexpectedly in their idyllic suburban town of Santa Rosa, California. The plot to Shadow of a Doubt is another one that’s extremely simple. And Hitchcock knows they will imagine the worst-case scenario each and every time he plants a suggestion. Every sinister action in this film until the very, very end, happens completely off-screen, and so much of it is left intentionally vague so the audience is left to fill in the blanks. Shadow of a Doubt is the purest embodiment of Hitch’s assertation that the audience’s imagination remains the most powerful driving tool in generating suspense, as this film’s horrors remain almost entirely implied, maximizing the engagement with the minds of the viewers to provide the necessary thrills and intrigue. Here we arrive at the film that Hitchcock himself named as his own personal favorite of his filmography, and for me, it is very easy to see why.
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