If your approach to reviewing this movie is to compare it with Hitchcock's usual style, Under Capricorn will surely not compare. If, however, you can suspend your expectations and view it with an open eye and mind, you might see that, in its own right, it is an excellent film of the type I refer to as the "Victorian soap opera." Being an aficionado of this "genre", perhaps I'm biased; but I enjoyed immensely the leisurely pace, extended dialog (which unlike other reviewers, I found to be intelligent, graceful, and poetic). I found it to be gently suspenseful, never really being sure who would get the girl in the end, or even who might survive to the end.
Joseph Cotton was appealing, even though his character throughout much of the movie seemed to be villainous, and his reasons for being that way were quite apparent by the end of the film. My suspension of disbelief centered around Bergman's casting as an Irish aristocrat: once in awhile she managed to say a word that had an Irish flavor, but mostly she just sounded Swedish. However, that did not detract at all from her usual thoughtful performance. Michael Wilding irritated me a little with his foppish ways, yet even he managed to come off as a human being with faults and virtues...just like the rest of us. Leighton was superb and she, like Cotton, seemed to be a treacherous yet sympathetic character. I think it was the portrayals of complicated people with no one being painted as totally good or bad, the nuanced characterizations that I found so artistic yet real.
If you approach this movie without preconceptions, you might be drawn into it and appreciate Hitchcock's genius in an entirely different way.
Joseph Cotton was appealing, even though his character throughout much of the movie seemed to be villainous, and his reasons for being that way were quite apparent by the end of the film. My suspension of disbelief centered around Bergman's casting as an Irish aristocrat: once in awhile she managed to say a word that had an Irish flavor, but mostly she just sounded Swedish. However, that did not detract at all from her usual thoughtful performance. Michael Wilding irritated me a little with his foppish ways, yet even he managed to come off as a human being with faults and virtues...just like the rest of us. Leighton was superb and she, like Cotton, seemed to be a treacherous yet sympathetic character. I think it was the portrayals of complicated people with no one being painted as totally good or bad, the nuanced characterizations that I found so artistic yet real.
If you approach this movie without preconceptions, you might be drawn into it and appreciate Hitchcock's genius in an entirely different way.