A reasonably solid Hitchcock thriller, though the ending veers towards rather extreme melodrama. Ultimately this film will succeed or not depending on how much sympathy you have for the central character's dilemma. Presumably at the time this film was made, there was considered to be something vaguely noble in a priest keeping a criminal's confidence - following numerous real-life scandals regarding church cover-ups, I'm not sure how much of this will hold much water for a modern audience. A more in depth exploration of the moral aspect might have been nice, but as it is, this film is more concerned with the nuts and bolts of the plot.
Alfred Hitchcock may have been reflecting on his experiences at UFA in Berlin in '24 when he made this taut and exciting film noir, as it is reminiscent of the expressionist films of the period, particularly the long flashback, and an impressive near silent performance from German actor Dolly Haas.
Montgomery Clift plays a priest suspected of murder who hears the confession of the real killer but is unable to break the sanctity of the sacrament in order to clear his own name. It's a thriller that's quite close to home for the Jesuit educated Hitchcock and the themes of catholicism and guilt are- of course- integral to his work.
Hitch didn't get on with his star and felt him unpredictable and uncooperative (and often drunk). But it's Clift's palpable anguish which makes this more emotionally compelling than the director's films often are. And Haas and OE Hasse are haunting in crucial support roles.
There is a strong evocation of the City of Quebec and the b&w photography is beautiful. Not absolute Grade A Hitchcock, but it's unique in his filmography and full of atmosphere. It's tempting to wonder if Clift's difficult time on location was a symptom of Hitch's indifference to his actors' motivations.