In 1934 Hitchcock went from his worst film of the decade to one of his best. Now in the ’40s he reverses the trend. Straight off the back of the magnificent Notorious, Hitchcock began work on his final collaboration with Selznick – The Paradine Case. While it’s still miles better than the string of crap Hitch produced in the early ’30s, it’s a ponderous film that doesn’t live up to the potential of the premise.
In his second and final film with Hitchcock, Gregory Peck plays Anthony Keane – a London attorney hired to defend Mrs. Paradine (Alida Valli) against accusations that she murdered her husband, a blind war-veteran. Keane starts to fall for his mysterious client which threatens both his career and his relationship with his wife, Gay (Ann Todd). Is Mrs. Paradine as innocent as he believes, or is she playing him like a chump?
The Paradine Case cost over $4,000,000, a monumental sum for the time. It ended up nearly as expensive as Gone With the Wind, which was on a huge blockbuster scale. But this is a low-key courtroom drama; where the hell did all the money go?
Not on the script, I hope. The screenplay (which Selznick constantly rewrote much to Hitch’s annoyance) hints at some interesting relationships and themes, but feels over-stretched and flabby.
At least some of the acting is strong. Especially from Ann Todd as Keane’s love-suffering wife and Charles Laughton turns in a surprisingly underplayed performance as Judge Horfield.
I’m very sad to say that it’s Peck who sticks out as the weak link. Based on other Peck films- not least of all his phenomenal performance in To Kill a Mockingbird (1962) – we know the man can do much better, but here he feels awkward and stilted. Initially Laurence Olivier was signed on to play Peck’s part before dropping due to other commitments. It would have been great to see him work with Hitchcock once again and he light have been able to add some va-va-voom to the role. Unlike Peck, he would have certainly been able to give a convincing English accent.
Overall, The Paradine Case is bland and forgettable, but isn’t as awful as many critics make it out to be. The fact it stands as Hitch’s weakest film of the decade only goes to show how great the ’40s were for Hitchcock hits.