Alfred Hitchcock Themes

In many of Alfred Hitchcock’s films, we are able to see how specific periods influence his work. In the case of postwar era, Hitchcock is able to evoke the aftermath of World War II issues and themes through the sub-text of films like I Confess (Warner Brothers, 1953) and The Trouble with Harry (Paramount, 1955). Though each film is completely different from the other, stylistically, genre-wise, tone-wise, scenery-wise; they both revolve around death, albeit approached from an entirely different angle. Hitchcock develops both plots, one with a gruesome ending while the other with the hope for a promising future. While I Confess exemplifies the issues faced in postwar America, The Trouble with Harry focuses on the cinematic themes of the era.
According to the Library of Congress, with the defeat of Germany in World War II, America found itself as the victor and the only region capable of helping to reconstruct Europe. The image of the Kellers humbly working at Saint Marie’s church exemplifies the notion of who was triumphant and who was humbled (Canadians over the Germans). Given Father Logan’s war experience, it stands to reason that he would feel responsible for “reconstructing” the German’s
This guilt is reflective of the minimalist expressions of moral dilemmas via the four character’s dialogue. Wiles thinks he shot Harry, Gravely believes she kicked Harry and that was the final blow, and Rogers is certain that hitting Harry with a milk bottle did him in. This “novelistic” narration of the characters and actions further argues the minimalist vision discussed above.
The imagery from the hillside above Highwater, and the town scenes from the small village in Vermont are stunning. This visual combined with ordinary people (a captain, an artist, a window and a spinster), and the natural lighting establish The Trouble with Harry as a neorealist picture. Notwithstanding, the entire dialog regarding the inanimate body, adds an entire dimension to the neorealism