This film is one of the few suspenseful films of Hitchcock that point to serious religion. A priest must keep a secret for the confessor, even if the confessor is the murderer. This is a paradox, and it has also become the suspense of the film. This is a bold and sensitive suspense. It is a pity that Hitchcock finally chose the conscience of the murderer's wife, and the priest's innocence conception was a victory for God's faith (the priest and the murderer's wife). But in fact, Hitchcock's idea that the priest had an illegitimate child and eventually died unfairly was more intriguing, thought-provoking, and more in line with the bizarre brain of this strange old man.
The Confession may not be well-known. In fact, it did not make any money after it was released, but its serious paradox, its classic sign montage at the beginning, and its control and scheduling editing of the scenes (such as the prosecutor’s last questioning When the priest was a priest, the crucifixion on the screen and the priest finally chose to keep a secret), the psychological portrayal of the eyes and music, the romantic and sad mood of the heroine in flashbacks, the outstanding performance of the handsome Meng and the actors, etc., all make this film can be called It is the most distinctive and connotative classic in the Hitchcock series. It got rid of pure psychological or sensory stimulation, and sublimated to a metaphysical and higher level of thought collision, and therefore made me feel like watching Kurosawa's movies: it is good-looking and practical but it is thought-provoking. It can also be said that all masters are unique, but there are always similarities.
Tribute to the masters!
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