I Confess

I Confess (1953) is middling Alfred Hitchcock. Another variant on Hitchcock's "wrong man" plot, its religious trappings don't compensate for sloppy plotting. Montgomery Clift helps with a strong performance.

Father Michael Logan (Montgomery Clift) hears the confession of church gardener Otto Keller (O.E. Hasse), who's murdered a lawyer named Vilette. Logan cannot break the seal of the confessional, even when police suspect him of the murder. Inspector Larrue (Karl Malden) finds Logan has a perfect motive: his past relationship with Ruth Grandfort (Ann Baxter), now unhappily married to a businessman (Roger Dann). Can Logan prove his innocence?

I Confess leans heavily on its priest plot to avoid familiarity. Hitchcock, a devout Catholic, no doubt felt its religious angle sincerely, and this aspect works well-enough. This doesn't stop I Confess from being contrived and profoundly muddled.

I Confess succeeds showing Logan's conflict. He fears not only breaking his clerical vows but exposing his shameful past, a credible characterization. His ambiguous relationship with Ruth torments him, while he scuffles with superiors afraid of the image problem generated by police suspicions. Hitchcock and writers George Tabori and William Archibald handle Logan's dilemma with sensitivity, saving I Confess from being gimmicky glop.

Move beyond Logan's characterization though and you've got a trifling, illogical plot. Is Larrue really so dense he can't guess why a Catholic priest might not cooperate? Ruth proves a selfish ninny who only makes things worse. Good thing that Keller blows his secret by publicly shooting someone. Hitchcock sets up Logan as a martyr with Calvary imagery - yet it's not Logan who's sacrificed. I Confess proves confused in its story and muddled in its message.

Hitchcock's direction is a mixed bag. He provides lots of moody photography, contrasting bright, scenic Quebec with cavernous church interiors and cramped police quarters. Ruth's romantic flashback, with glowing costumes and sunny scenery, provides an idyllic interlude. Hitchcock's a master of set pieces and the climactic chase works dramatically for all its illogic.

But the religious iconography proves insultingly obvious. As Logan walks to the police station, he passes a Calvary statue. Later, he testifies at his trial with a crucifix highlighted in the background. Presumably Hitchcock thought Logan healing lepers and turning water into wine was too on the nose.

Montgomery Clift provides a solid turn. His brooding intensity, repressed romanticism and religious devotion make him a compelling hero. His supporting cast is less commendable. Ann Baxter (All About Eve) suffers playing a ninny, while Karl Malden (On the Waterfront) is required to be snide and obtuse. O.E. Hasse (Decision Before Dawn) provides cartoon villainy and Dolly Haas's killer's wife is underutilized.

I Confess unfortunately proves mediocre. Its production values and Clift's acting salvage what would otherwise be forgettable.