But while the tune and the waltzing couples appear on one occasion in a lap dissolve over a shot of Charles, the film’s narration does not unequivocally mark this image-sound set as coming from ‘inside’ Charles’ head (there is nothing like a close-up shot of Charles looking off-screen as if imagining or recalling the tune or image). Through its name, the tune alludes to the secret identity of Uncle Charles (Joseph Cotten) as the “Merry Widow” serial killer of rich widows, on the run from a nationwide police hunt. Occurring firstly during the opening credits and then at crucial moments during the unfolding story, and neither simply diegetic nor non-diegetic, this melody and the brief, hallucinatory scene of waltzing couples that sometimes accompanies it present a conundrum to the spectator/auditor about how to attribute their occurrence in the film.
This paper contemplates the curious employment of the “Merry Widow” waltz in the soundtrack of Hitchcock’s early American classic, Shadow of a Doubt. This paper was presented at the Alfred Hitchcock conference For the Love of Fear convened by the Museum of Contemporary Art, Sydney, held from 31 March to 2 April 2000.
0 kommentar(er)
