Alicia I love this movie so much

Hayden Kane There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Brenda The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Freeman This film is so real. It treats its characters with so much care and sensitivity.

dougdoepke After 200+ reviews, there's not much left to say. Generally speaking, Hitch was not known as an actor's director, even calling them "cattle" on one occasion. Yet here in Shadow are two of the most impressive turns in the director's legendary canon. Wright's small town girl must go from wide-eyed innocence to suppressed dark suspicion as she suspects more and more about her treasured uncle. As niece Charlie, it's her reactions that must register the movie's deepening suspense. It's an abrupt range that despite the demands remains impressively memorable. A standout Oscar performer, mainly from the 40's, Wright has regrettably slipped into semi-obscurity despite her obvious talent. Never glamorous, she could project a surprising range behind that winning smile, as she does here. On the opposite side is Cotten's Uncle Charlie, registering here a dark dimension along with a sincere handshake. His Uncle Charlie is not all bad. Instead Charlie's small town upbringing has not equipped him for what he sees as a cruel wider world. Thus he's matured into two sides, one a fortune-hunting killer, the other a latent small town citizen. Thus, his return to Santa Rosa is not only an escape but a wish to be reborn into the community womb. In that regard, catch actor Cotten's often fleeting dark moments before his sunny side again surfaces. Nonetheless, his murderous side has already doomed those small town hopes.In a larger sense, Charlie's internal struggle with her uncle has become a struggle for her maturing soul, as she too must face realities of a wider world brought suddenly home to her. In that regard, the movie's impact remains as much a matter of actors as it does of plot, and Hitch's concern for story was never better combined.

Smoreni Zmaj Rated 8/10, reviews extremely positive, calling it one of Hitchcock's best achievements... Although acting and directing are good, this is probably only Hitchcock's movie I will not ever watch again. I am aware that thrillers now and then are not exactly the same thing, but in my opinion, this is not thriller no matter which criteria we apply. The story isn't bad, but isn't particularly good either. There's no suspension or mystery and the movie as a whole do not wake any emotions in me and leave no impressions. As if I did not watch it at all. I can not point my finger and criticize any particular flaws, but the overall impression is two hours wasted. From Hitchcock I expected a lot more...6/10

christopher-underwood With the rousing score of Dimitri Tiomkin and the wonderful camera work, this captivates from the very beginning. We switch from the tight, small lodging out into wide open and view a chase on foot from above, runners and shadows racing before us as we wonder just what is afoot. As it happens we are to find out that Joseph Cotton's character is guilty almost straight away yet spend the rest of the film in suspense as we doubt ourselves. This partly because of the tale of his personal history and partly because of the love and affection of his niece, a wonderful performance from Teresa Wright. Shot largely on location and using a lovely old property in which the large family tumble this way and that in marvellous abandon while the lady of the house tries to maintain control. I learn from the extras that in the end, more shots were required by Hitch and so a set had to be built anyway replicating the building. A very fine, involving, moving and suspenseful film.

frankwiener "It (the world) goes crazy sometimes." Jack Graham (Macdonald Carey)Although "Shadow of a Doubt" opened at theaters in January of 1943, it was made in 1942, a year in which much of the world had found itself entangled in the horrific violence and uncertainty of a major global conflict, World War II. Considering that the same conflict played such a prominent role in Hitchcock's other films from the same period (Foreign Correspondent, Saboteur, and Lifeboat), I do not believe that the final words of this film are unintentional. In 1942, the world had indeed gone crazy, and Alfred Hitchcock was well aware of its state of insanity at the time. In many respects, the character of "Uncle" Charlie Oakley (Joseph Cotten) served as a mere personification of what the world had become. Beyond this, the fundamental viewpoint of Uncle Charlie, that the pleasant appearances of "normalcy" in such a world conceal the basic evil that dwells deep within, is a perspective that may very well have been triggered by the brutality and barbarism that World War II had unleashed at the time.Once again, Hitchcock uses his brilliant skill as a film director, to unravel the truth of a specific matter, in this case the true character of Uncle Charlie. The key vehicle of revelation is young Charlie Newton (Teresa Wright), a bright and inquisitive young woman whose innocent adoration for her uncle gradually turns to intense loathing as she slowly discovers the monstrous truth about him.Wright and Cotten are both excellent in the lead roles, and their outstanding performances are augmented by a terrific supporting cast, including Hume Cronyn in his film debut, Henry Travers, Patricia Collinge, Macdonald Carey, Wallace Ford, and even the child actors, Edna May Wonacott and Charles Bates. I credit Mr. Hitchcock, the director, for once again bringing out the very best results from his carefully selected cast. Although Collinge's character of Emma Newton often exasperated me, I believe that's how she was supposed to play her. The fact that Emma could not see or rather chose not to recognize what her young daughter had observed at an early point in the picture was infuriating to me, but all of the other folks in Santa Rosa who glorified a monster were no better than Emma. People can be like that, and there is nothing that any of us can do about it. This reality is as true today as it was in 1942, maybe even worse now.Hitchcock very much valued the locations that he carefully selected for his films, including notable landmarks. In the opening scene, we observe the gray 1942 skyline of Newark, New Jersey, the city of my birth, and the Pulaski Skyway that connects Newark to Jersey City and New York City as it spans the meadow lands that stretch in between. The gritty, gloomy locale of Uncle Charlie's rooming house is in the Ironbound section of Newark. From that shabby, rundown environment, Uncle Charlie arrives in the somewhat idyllic northern California city of Santa Rosa, where the sun always seems to shine and where everyone smiles and says hello. The obvious contrast should not be lost on anyone. Whether perceived or real, Hitchcock's distinction of these two places significantly contributes to the important theme of the contamination of innocence by evil. As a Newark boy, I don't take any of this personally. Why would I?