![]() ‘I guess we’ll just have to wait for a miracle or something.’ Hoping to further the possibility of such an occurrence, Charlie decides to wire her Uncle Charlie (whom she is named after) where he is living in Philadelphia as she supposes. ![]() ‘I’ve come to the conclusion that I give up,’ she complains as she ponders the apparent mundanity of her existence. Like Cotten’s character, Charlie is also lying back on a bed when we first see her with a contemplative demeanour set in her expression. We are next introduced to the character of Charlie Newton (Teresa Wright), a quick-witted young woman who does not appear to appreciate her salubrious environment. The particular cityscape which the director presents us with here is not a very aesthetically pleasing one, but he contrasts this with his next location which is the rather idyllic urban milieu of Santa Rosa, California. In a typical signature shot of his, Hitchcock shoots the two men from an elevation as the grinning Cotten regards their faces of puzzlement at his evasion. You’ve nothing on me.’ Cotten leaves the premises and manages to give the two men the slip. ‘What do you know?’ we hear him say in his own mind. He looks out the window at the well-suited individuals who are lingering across the street. Cotten’s character barely registers her presence until she tells him of the two men who have been asking after him. His current landlady enters the room and addresses him as Mr. A wad of cash is carelessly strewn on the bedside table beside him some notes have even fallen to the floor. Alfred Hitchcock’s superb 1943 psychological film noir Shadow of a Doubt opens with the ominously-framed Joseph Cotten lying on a bed.
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