Filmed on an expansive budget, Under Capricorn has everything going for it except its script - a trite magazine story with soap opera characters indulging in lots of talk and dissension which involves very little action and which all comes to a ridiculously facile conclusion.
Admittedly, it has all the gothic trappings of Rebecca (which is really a costume picture in modern dress), Great Expectations and Gaslight, but unfortunately the result is just plain boring. However, the credits are pretty wonderful. The film is always very attractive to watch with its fluid camera movement, long takes, stunning costumes (by Roger Furse), colorful sets and adroit cinematography (how about that long take in the middle of which Wilding takes off his coat and puts it behind the window-pane to show Bergman her reflection?). And Addinsell's music score shimmers with pleasing atmosphere.
The players are very agreeable too. Michael Wilding with his odd air of hesitant confidence, has always struck me as an amiable and capable actor, and here he has a role well-measured to his talents. Ingrid Bergman is also ideally cast (although she doesn't maintain her Irish accent much past her most effective introductory scene about 30 minutes into the film). In an equally difficult role, Joseph Gotten manages a reasonable conviction and is given solid support by players like Cecil Parker and Dennis O'Dea.
My one complaint against the acting is that Margaret Leighton's portrait of the sinister housekeeper is somewhat exaggerated, lacking the slyness someone like Judith Anderson or Gale Sondergaard would have brought to the part.
Admittedly, it has all the gothic trappings of Rebecca (which is really a costume picture in modern dress), Great Expectations and Gaslight, but unfortunately the result is just plain boring. However, the credits are pretty wonderful. The film is always very attractive to watch with its fluid camera movement, long takes, stunning costumes (by Roger Furse), colorful sets and adroit cinematography (how about that long take in the middle of which Wilding takes off his coat and puts it behind the window-pane to show Bergman her reflection?). And Addinsell's music score shimmers with pleasing atmosphere.
The players are very agreeable too. Michael Wilding with his odd air of hesitant confidence, has always struck me as an amiable and capable actor, and here he has a role well-measured to his talents. Ingrid Bergman is also ideally cast (although she doesn't maintain her Irish accent much past her most effective introductory scene about 30 minutes into the film). In an equally difficult role, Joseph Gotten manages a reasonable conviction and is given solid support by players like Cecil Parker and Dennis O'Dea.
My one complaint against the acting is that Margaret Leighton's portrait of the sinister housekeeper is somewhat exaggerated, lacking the slyness someone like Judith Anderson or Gale Sondergaard would have brought to the part.