Cary Grant is a very convincing manipulator in Suspicion. His superficial dapper, happy-go-lucky demeanor masks an evil personality. Like the best con-men, his character Johnny seems too good to be true.
That's why Joan Fontaine's Lina falls for him, and subsequently becomes suspicious of his motives. She is naive; but wises up quickly as John's schemes seem increasingly unrealistic and eventually dangerous. At first it's she who thinks that he's naive.
You can't blame her for falling in love with him, and then wondering if she really knows him. She doesn't. Despite his social graces, he's routinely dismissive and outright rude to her. The "Monkey-Face" nickname would be cute enough if it's used once or twice, but it's plain demeaning to call her that almost all the time.
I can see why others would've rather seen a Joseph Cotten-type play John. But, whether by design or not, I think Grant actually does a better job than a more naturally shifty-looking guy like Cotten. In order to be duped by John, Beaky (Nigel Bruce) and Lina have to be taken-in. Cotten could easily play a remorseless business partner, but hardly the Adonis (to Fontaine) that Grant can portray.
Unlike many reviewers, I don't mind the ending. For one thing, it's suitably ambiguous. Yes, Lina almost fell out of the speeding car, but in what sense is John 'saving' her? The fact that he's driving recklessly, and therefore he has total control over her, shows that he wants to scare her, literally giving her a brush with death.
His subsequent alibi for his whereabouts at the time of Beaky's death might be true. But why should she believe him? The police, at least initially, think he might've been the poisoner. His stories are too nonchalant, too easy to hold much water. In any case, it's hardly a happy ending. Lina buys his line; presumably, she's doomed to more of the same from John.
His 'concession' is not to divorce her. John is an evil person who thrives on tormenting his wife. He continually alarms her, then gets defensive when she calls him on it. Finally, she just gives up. His ultimate defensive stroke is an admission that he was going to kill himself. In other words, Lina's guilty of not letting him victimize her. In a different scenario, in which Lina has inherited the bulk of the family fortune, there's little doubt that John would've let her slip out the door of the car and plunge to her death.
By its nature as a psychological thriller, Suspicion is mostly dialogue, with not much plot. The sparing use of minor characters and settings helps to focus attention on John, Beaky, and Lina. All three of the main characters are engaging and believable. Worth spending some time watching and thinking about this one.
That's why Joan Fontaine's Lina falls for him, and subsequently becomes suspicious of his motives. She is naive; but wises up quickly as John's schemes seem increasingly unrealistic and eventually dangerous. At first it's she who thinks that he's naive.
You can't blame her for falling in love with him, and then wondering if she really knows him. She doesn't. Despite his social graces, he's routinely dismissive and outright rude to her. The "Monkey-Face" nickname would be cute enough if it's used once or twice, but it's plain demeaning to call her that almost all the time.
I can see why others would've rather seen a Joseph Cotten-type play John. But, whether by design or not, I think Grant actually does a better job than a more naturally shifty-looking guy like Cotten. In order to be duped by John, Beaky (Nigel Bruce) and Lina have to be taken-in. Cotten could easily play a remorseless business partner, but hardly the Adonis (to Fontaine) that Grant can portray.
Unlike many reviewers, I don't mind the ending. For one thing, it's suitably ambiguous. Yes, Lina almost fell out of the speeding car, but in what sense is John 'saving' her? The fact that he's driving recklessly, and therefore he has total control over her, shows that he wants to scare her, literally giving her a brush with death.
His subsequent alibi for his whereabouts at the time of Beaky's death might be true. But why should she believe him? The police, at least initially, think he might've been the poisoner. His stories are too nonchalant, too easy to hold much water. In any case, it's hardly a happy ending. Lina buys his line; presumably, she's doomed to more of the same from John.
His 'concession' is not to divorce her. John is an evil person who thrives on tormenting his wife. He continually alarms her, then gets defensive when she calls him on it. Finally, she just gives up. His ultimate defensive stroke is an admission that he was going to kill himself. In other words, Lina's guilty of not letting him victimize her. In a different scenario, in which Lina has inherited the bulk of the family fortune, there's little doubt that John would've let her slip out the door of the car and plunge to her death.
By its nature as a psychological thriller, Suspicion is mostly dialogue, with not much plot. The sparing use of minor characters and settings helps to focus attention on John, Beaky, and Lina. All three of the main characters are engaging and believable. Worth spending some time watching and thinking about this one.