Letter from Samson Raphaelson (28/Jun/1941)

The following is a transcript of a letter dated 28/Jun/1941 from Samson Raphaelson to Hitchcock regarding the ending for Suspicion (1941), as reproduced in "Hitchcock's Notebooks".

Images

Transcript

June 28, 1941.

Dear Hitch;

In case I don't see you before I go, I want to leave these impressions of the last scene:

I think it is very good up to where Lina gets the first inkling that Johnnie didn't kill Beaky. From then on, I think it is out of focus. What is wrong with it contains the clue, I believe, of what can make it a fine scene.

Johnny fails to rise to the "lift" of the "happy ending" finale. This would be all right if it weren't the intent that he should rise. I think it is impossible for Johnnie, in that situation, to do anything but sternly regard the realities of the present, the past, and the future.

So I suggest that Johnnie makes no contact with Lina — hardly looks at her, never once touches her hand, doesn't stand up. In other words, he plays practically all of that scene talking to himself, so to speak.

But as for Lina ... When she gets the first inkling that Johnnie didn't kill Beaky, I don't think she begins to get enough "lift". I think she must carry the whole finish. I think she should rise to an ecstasy unprecedented in the acting career of Miss Fontaine at the second beat when she fully realizes Johnnie didn't kill Beaky. I could conceive of the camera on Lina as she does what amounts to a lyric dance of solemn happiness, while Johnnie, on the sound track, continues his succeeding speeches. I could see her by the window, looking with exaltation into the brightly moonlit night, while the sound track continues with Johnnie. I could even see her say speeches like the one about her mother helping out with money while she stands by the window.

Then, for the finish — and by the finish, I mean actually her last line — I could see her sweep back to Johnnie, who is still sitting with his elbows on his knees, and over his shoulder tell him the last speech. Then, as he slowly looks up at her with the first glimmering of realization, we fade out.

In other words, I think it is impossible, under these story conditions, to have Johnnie meet Lina even one-tenth of the way in these few minutes. Lina must do all, and rightly so. The less Johnnie meets her, the more we believe in his sincerity.

And I wish to protest most strenuously against what has happened to my last line. She says now: "Those are the most beautiful words any woman ever heard!" I regard that speech as inane, pointless, silly, and affected. I regard my original speech — "Those are the most beautiful words you ever said to a woman in your life" — as rich with meaning, and unchangeably right. I consider that speech vital to the picture.

In case I don't see you my love and blessings on you and Alma.

Sincerely,

Raph

Raphaelson then added a handwritten note to the letter:

P.S. Also I don't think she should say the line about "is it a painful death." That comes from a supine, licked woman.

Just heard that you're not coming until Tuesday — awfully sorry to have missed you both.