The Paradine Case is a jewel in the British moviemaker Alfred Hitchcock. The film earned over time and can be seen today assess their influence on many classic and modern films on judgments.
master's genius is evident in the way of driving the film to the land he loved: human passions. The judicial system is somehow an excuse to tell a unique love story and jealousy, a vision of marriage encouraging anything that shatters the American dream.
A lawyer (Gregory Peck), married with a brilliant career behind him, falls in love with the client who defends (Alida Valli) accused of poisoning her blind husband. It was in 1947 and is amazed at how Hitchcock has to tell this story, openly of any kind and with a surprisingly modern discourse.
Gregory Peck's desire to his client is realistic and convincing, thanks to the beauty of actress Alida Valli carnality becomes celluloid. Despite being a great lawyer, falls prey to his love and defend it based on a premise that is not analyzed under the filter of reason is innocent. In fact, in this aspect Alida Valli's character is built from the ambiguity and do not know until the end if the author or not the murder of her husband, as the defending lawyer for your love and not because he is really convinced that he is innocent. Hitchcock moves very well in this environment of ambiguity, remember to respect the magnificent Suspicion (1941).
The film, whose script is signed by David O. Selznick and Alma Reville (Mrs. Hitchcock), splits into two distinct directions. On the one hand, the psychological drama made by the lawyer, his client and the latter's wife, and secondly the prosecution of crime itself, which can be seen in the second part of the film, where the presence of Charles Laughton as trial judge inevitably reminds us of another gem of cinema, Witness for the Prosecution (1957, Billy Wilder).
trial sequences are superb, consisting of some beautiful planes built by tracking shots that achieve the ideal climax and tension. Regarding the first part we highlight those where Gregory Peck visited his client in jail. Hitchcock takes the perspective that encourages us to think that is a form of unfaithfulness to his wife, although in reality these interviews are part of legal work, but the love you want to be alone with his beloved and desire looks say it all. In these sequences is essential contrast of light and shadow created by the black and white photograph of Lee Garmes.
The other side of the coin is the attorney's wife (Ann Todd), who gradually sees how her husband is falling with another woman. The teacher relies heavily for this part of the film in close-ups fabulous absolutely necessary for the psychological insight of each character. In this regard I would say that in my opinion Hitchcock is the author of the most beautiful close-up film, together with Swedish filmmaker Ingmar Bergman, and this film boasts of it as could not be otherwise.
The deal was imposed by the producer Selznick and not liked too much to own Hitchcock, but they are gorgeous, especially Alida Valli succeeds in creating a very believable interpretation and whose character has clearly influenced by the femmes fatales black film. No need to say a word so we can feel his strength on screen. As the great Charles Laughton, plays a small but important role for history, the trial judge. And I disagree radically from what Hitchcock thought about the interpretation of Gregory Peck, who said that was not quite believable as an English lawyer. Is great, but the director always wanted to Laurence Olivier, with whom he has worked in Rebecca (1940).
At the time this film was reviled by critics who considered it a minor work of the teacher. Fortunately that history is responsible for putting things in place and has given the place it deserves, since it is one of the best of its director. In fact, everything in the film is superb, from the actors to the peak achieved in various situations, like the address and portentous script, including unexpected turn. Bravo, Sir Alfred.
EDUARDO MUÑOZ
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