The gist is Tippi’s character be scammin’. Connery, his character seems to be into that sexually or something. Never really figured out what his motivation was, honestly.
Like when Connery catches her, he has her tell him her story. She tells a tale about her mom being dead and desperate for cash. Let’s her go on forever and then tells her how he knows that was all bullshit. Then he decides to take care of her. Alright.
Ought to be sending her to jail. She ripped off a bunch of friends of his and stuff. When he marries her, those friends are at the wedding. She’s like, “welp, I’m going to jail.” But instead, Connery says that they want after he tells them what he has to say. No idea what the hell he’s gonna say to smooth that shit over.
Something I’ve noticed after 25 or so flicks. Men in Hitchcock movies are always forcing brandy on women in the morning.
Also, Hitchcock did love the violence-leading-into-sex move. When Connery inevitably gets rapey, the Bernard Herman score is at its most frantic and horrible. The whole time you ask, why is he doing this.
What an insane living situation this is. Sean Connery and his fake wife, his dad, and his widowed sister-in-law that is in love with him all under the same roof. Tippy has a nightmare, her normal, reoccurring one where she’s screaming. “Don’t hurt my mama.” The sister-in-law comes and shakes the shit out of her while Sean Connery is just looking at her. The sister-in-law leaves their room and sees the book Sean Connery is reading, “Sexual Aberrations of the Criminal Female.” If any of this is happening to me, I am reassessing as life has become way too complicated.
Everybody is sort of familiar with it with many claiming it as one of Hitchcock’s greats. But when you get into this run of films, things get pretty weird in his universe. Definitely question his genius at this level.
Overall, to me, it felt like someone imitating Hitchcock. Same with the Bernard Herrmann score. The whole movie just felt kind of off.
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