Alfred Hitchcock directed the film. Cary Grant and Joan Fontaine co-star. Fontaine won the Oscar for Best Actress, which was well deserved. The film follows an affluent young woman (Fontaine) who is tempted by a compulsive gambler (Grant). He does not work and gets his money by betting, scamming, borrowing, and gambling, which bothers his wife, who previously believed her husband was self-sufficient. She gradually suspects that her husband is planning to kill his closest friend for money, and eventually to kill her for inheriting the fortune. Much of the film is uninteresting, with nothing but talks and lackluster romance chemistry. The suspense that begins more than halfway through also fades. I had waited a long time to watch this film, but the narrative disappointed me. I still give it a positive rating because of Fontaine's great performance.

Ambling romantic comedy that makes a sudden turn into thriller territory when a young woman begins to suspect her roguish new husband of murder. Capably acted, and not without charm, but lacking suspense and a satisfying conclusion.

The story is good and has interesting twists, but the movie is terribly slow. Lina falls in love with Johnnie who soon persuades her to marry him. After they elope, she starts realizing that she does not know much about him. With the help of his friend, she understands that he tends to lie and gamble. The movie becomes then a series of moments and new pieces of information that make her grow more and more suspicious of him. This process becomes boring over time, and a bit nerve wracking. I mean, how much more information does she need to make up her mind? The end of the movie is rushed and unexpected- and possibly not the original ending. And by all means not what the story leads up to. In fact, From what is written elsewhere and from the original story, the original ending was supposed to be very different.

The genius of Hitchcock is still obvious today when 1941's 'Suspicion' is still such an incredible film. SYNOPSIS: 'A shy young heiress marries a charming gentleman, and soon begins to suspect he is planning to murder her.' History tells us that this film faced much studio meddling but Hitchcock is still able to pile on the tension in a way that only he knows how, skilfully building to the sensational finale. The film starts off quite light with a charming edge but slowly darkens so gradually you won't even notice it shift from light romance into a psychological thriller. It's incredible how this film still works 80 years after its release. An absolute classic of a movie. 9/10

This was what Katy Perry was talking about when she sang Hot N Cold.

Almost a 4. The end was a disappointment--Hitchcock chickened out and gave the movie a generic Hollywood ending. This was better than Rear Window, and could have been a masterpiece of suspense if the end hadn't been a damp squid. My impression from this and Rear Window is that Hitchcock movies always end happily, and that detracts enormously from whatever suspense is built into the plot because you know it will end well. He just couldn't resist following the generic Hollywood script.

So underrated! Cary Grant and Joan Fontaine are phenomenal in this

Strange film. Hitchcock's very earliest films? Why would Joan Fontaine win an Oscar for her role in this? She really needs to let her down. I've been watching lots of 1940s films recently. The music is so weird. Terribly strange. Seems very unorchestrated. It kills what could be possible.

One of Alfred Hitchcock's many extraordinary achievements was to take one of Hollywood's most charming and affable stars, and have him portray characters of a more sinister kind. It is comparatively easy to bring out the dark side in actors such as James Mason or Kirk Douglas who regularly played flawed characters. To do the same with Cary Grant, the star of a number of agreeable romantic comedies, was a more incredible feat. What would it be like to be married to such a roguishly charming and ruthless man of the kind that Grant played in other films? Suspicion is the movie that comes closest to answering this question. For the first time we see that marrying such a man is not the happy ending that the comedies suggest, but the beginning of a fresh collection of problems. Suspicion was made after Rebecca, and shares many similarities. Both feature Joan Fontaine as a timid heroine, and offer a supporting role to Nigel Bruce. Both were made in America, but set in Britain. In the case of Suspicion, this is a quaint England created entirely on sets, where characters act in the way that American audiences seem to expect of the English – talking in posh accents, hunting, and living in clean postcard villages. Most of all, both movies portray a marriage that is in trouble. In the world of Hitchcock, single people have fun sparring with one another before finding a happy ending in wedlock, but married couples are frequently unhappy, and spend the film struggling to reach some kind of resolution to their problems. The script cleverly alternates between moments of suspicion and moments of reassurance. These two states of mind slide like tectonic plates beneath the feet of our heroine and of the audience watching the movie. The viewer is constantly made to doubt Johnnie's probity, but like Lina we wish to believe the enchanting rascal. I may be in a minority, but personally I prefer the revised ending. There is something more interesting about an open ending. We can make up our own conclusion to the story. There are a number of themes and motifs that can be found in other Hitchcock movies, especially that of the marriage in trouble. Another familiar element is the inclusion of characters who enjoy discussing murder methods, and who therefore offer an insight into Hitchcock's own attitudes towards making movies on the subject. The murder mystery writer Isobel exclaims, ‘My villain? My hero, you mean. I always think of my murderers as heroes." It is easy to imagine Hitchcock saying the same thing, as his films often identify with the villains as well as the heroes. There are also a number of stylistic touches that identify the film as Hitchcockian. The music is used to heighten effects. In this case it is Strauss's Vienna Blood waltz which plays in the background during the scene where Johnnie meets Lina at the ball, and reverberates throughout the rest of the movie in happy, sad or ominous variations. Two years later, Hitchcock used Lehar's music from The Merry Widow to achieve a similar effect in Shadow of a Doubt. Suspicion provides a good blend of carefully-crafted melodrama, romance and suspense. As with the earlier Rebecca, it demonstrated that Hitchcock's move to America was not going to dull the sharp edge that his British films had shown, but rather to provide new opportunities and a bigger budget for the great director to stretch his abilities. I wrote a longer appreciation of Suspicion on my blog page if you would like to read more: https://themoviescreenscene.wordpress.com/2017/10/20/suspicion-1941/

It's an excellent film, Suspicion, 1941 film bu Sir Alfred Hitchcock...starring by sole Oscar-winning performance, Joan Fontaine

Time has not been very kind to this film. It is however always nice to see a Britain where everyone is polite and civil to one other. And can articulate clearly. The 'reveal' is a bit unlikely to say the least - given the mountain of circumstantial evidence racking up against Cary Grant. But it's Hitchcock. And Cary Grant (Archie Leach) is from Bristol, almost certainly a Rovers supporter, so all is forgiven.

An early Hollywood-era psychological thriller from Alfred Hitchcock, featuring Cary Grant and Joan Fontaine as a budding married couple on different pages. Grant is a total jerk from the start, borrowing money from his bride-to-be within minutes of their initial encounter and negging her relentlessly during their awkward first date, but love is every bit as blind as accused and she falls for him anyway. His behavior doesn't improve after they're wed, too-young and in a great hurry, but finally, after some years, she begins to recognize the warning signs. By then, though, isn't it already too late? Suspicion is essentially a feature-length protraction of the famous "girl, don't go in there" scenes that crop up so often in teen slasher movies. Fontaine's character - the mousey, bespectacled sweetheart Lina - walks straight into a lifetime's worth of trouble, ignoring or politely excusing terrible behavior because she's too cordial to call her husband's bluff. Even when the contrary evidence is irrefutable, she compartmentalizes the problem and pushes it aside. Shut that box of worry in the closet, please, right alongside all the others. The idea, one would think, would be to pile on and pile on until the lies reach critical mass and everything blows up in a noisy, fateful climax, either revealing a chain of stacked misunderstandings or disintegrating the marriage in one manner or another. That's how it plays in Before the Fact, the novel this is based upon, but in the film version a poor test screening and studio reluctance to paint Grant as a fully-fledged bad guy results in a weird, hurried non-finish. For years after its release, Hitchcock would claim he opposed the ill-conceived "happy" ending, but there's since been some evidence to the contrary. Regardless, the director lays enough early groundwork to leave some doubt in viewers' minds, even after they've been hand-held through that flat, superficial climax. It's well-composed and acted - particularly by Fontaine, who collected an Academy Award for her role - but ultimately feels hollow and drawn-out, like two acts forever in search of a third. I can't believe she bought that line. Again.

Amo muito Hitchcock, certamente esse não é o seu melhor (afinal, melhor de todos é "Pássaros" em absoluto) mas tem uma trama muito boa, simples, entretanto fiquei decepcionadíssima com o final, principalmente por ter sido baseado em um livro e alterar alterado deliberadamente, contra a vontade de Hitchcock para poupar a imagem do galã de Hollywood, Gary Grant, não tornando um vilão psicopata e desonesto, para tanto tornou Lina uma louca com imaginação fértil, vergonhoso...

In todays world, it seems quite a cliched film but of course this film is quite old. I like that the female character is relatively quick to sense that something is wrong and stands up for herself somewhat, although I got really quite annoyed at her new husband repeatedly referring to her as 'monkey face', which I assume to be some kind of term of endearment. The husbands acquaintances (including a chap referred to as 'beaky') seemed somewhat suspcious and I'd say this film reflects the moral standards of the time it's set in. Its somewhat tense and I found it an interesting watch, not least how the characters develop, with the husband changing his demeanour at times. The film features pretty good performances and its an Alfred Hitchcock film, so if your a fan of his work then yes, I'd recommend it, although the ending is a little unsatisfactory perhaps.

I would never watch this movie again. If the studio was so worried about Cary Grant being perceived as a murderer, they should have cast someone else in the part. After watching him all through with his suspicious actions, his facial expressions, etc. they give us the most ridiculous ending ever. And Joan Fontaine got an Academy Award? Her expressions barely change throughout the entire movie. And we come away thinking that she was a complete idiot for letting him get away with everything throughout the film. Sorry.

An enjoyable and captivating Hitchcock thriller. The ending is ridiculously weak and hard to believe given all the circumstances leading up to it. In the end though, it's great that Monkeyface has a happy ending.

very very slow moving - almost painful to watch combine slow and plot twists just doesn't work - I really really tried to make it work but couldn't

Great cast and feel. Disagreed with ending . Had to research that

Fantastic slow burn. Didn't buy the ending. Great cast! Had to research why that ending.

Not wanting to do a spoiler - so just to say, the ending was pathetic. Expected more from Hitchcock... Minor point, in the description by Rotten Tomatoes - to describe Joan Fontaine as 'plain' is very strange.