UNDER CAPRICORN – The Blu Review

Review by Roger Carpenter

Even the great Master of Suspense, Alfred Hitchcock, was capable of producing a flop now and then, and Under Capricorn was just that—a big budget, star-studded, Technicolor affair that failed miserably at the box office as well as in the critic’s circle. In fact, even after a half-century to re-evaluate the film, many critics and Hitchcock fans dismiss Under Capricorn as merely a blip in Hitchcock’s oeuvre, which is unfair as the film, while not the standard fare one would expect from the filmmaker, is still a quality gothic romance.

Joseph Cotton stars as Sam Flusky, a one-time inmate in Australia’s penal colony who was released after completing his sentence and has become one of the wealthiest denizens of New South Wales. Flusky is married to Henrietta Flusky (Ingrid Bergman), who is a very sick woman and rarely leaves her bedroom.

It’s 1830 and a new governor has just been installed. As part of his entourage, the governor’s young cousin, Charles Adare (Michael Wilding), has come along for the ride. Determined to make his fortune, it isn’t long before he meets Flusky and the two hatch a deal to purchase some land. But while no one will talk about it, Adare is warned to stay away from Flusky—his background as a formar inmate of the penal colony and reputation as a hard taskmaster is enough to put most people off. However, Adare dismisses this gossip, and also the warning from the new governor to stay away from Flusky, and attends a dinner party in Flusky’s large mansion where he meets a woman from his past, who grew up in Ireland along with Adare and who was best friends with his sister. That woman is Henrietta Flusky.

The two take an immediate liking to each other and it isn’t long before Flusky confides in Adare that his wife is very ill. In fact, she is a depressive alcoholic incapable of taking care of even herself, much less the large household and servants. But Adare again dismisses this excuse and devotes himself entirely to helping Henrietta become well. But as Henrietta improves, Mr. Flusky grows jealous until one night things go horribly awry. Now Adare is on his deathbed from a gunshot wound, Flusky stands accused of attempted murder, and the delicate Henrietta may be the only key to saving them both…and herself as well.

Under Capricorn was supposed to be Hitchcock’s triumphant return to his native England after a decade in Hollywood; instead, it and Hitchcock’s English follow-up, Stage Fright (1950) were met with severe criticism and tepid box office returns. There are many theories as to why this was, from Hitchcock’s persistence in experimenting with long takes to Bergman’s widely reported affair with Roberto Rossellini, unfortunately timed along with the release of the film. Some say the English were unhappy with the film because it wasn’t English enough, with all the primary actors being American (or at least adopted Americans in the case of Bergman). Whatever the reason, the fact is, while Under Capricorn isn’t your typical Hitchcockian suspense thriller, it is still a fine film.

Cotten and Bergman were at the top of their game and Wilding is superb as well. In fact, Wilding and Bergman have a steamy chemistry that keeps the viewer wondering when the two will fall into bed together. Bergman has a 10-minute, powerhouse scene that few other contemporary actresses might have been able to sustain. Cotten is admirable as a man haunted by his past and not entirely comfortable with his nouveau riche status. He is exposed when the Flusky maid, Milly, egging him on, is successful in implanting enough doubt in his mind to embarrass himself at the Governor’s Ball, storming into the party and ruining his wife’s coming out by accusing her of an affair with Adare. Supporting the trio in the love triangle is the pretty Margaret Leighton as Milly, the head servant who secretly covets Henrietta’s position and would love nothing better than to take her mistress’ place. At first a benign presence, she becomes more malignant as time goes by, eventually exposing herself as a scheming, conniving peasant woman intent on overtaking her superior’s place at the table.

It isn’t until the last half-hour or so that the suspense is cranked up. But even in this gothic romance, Hitchcock shows his mastery at creating suspense as it is sustained for the entire final act of the picture. Along with an increase in suspense at the end comes the Hitchcockian trademark of characters suffering deeply from guilt. The great director also infuses the film with some very subtle comedic bits though the melodrama is sustained throughout the running time.

Granted, Under Capricorn is no Rebecca or Notorious, but the film is much better than most critics state. It’s a well-acted, melodramatic costume drama that really picks up at the end and delivers some thrills. Kino Lorber has just released the film on Blu-ray in a brand new 4K restoration that looks vibrant and lush even if the sound isn’t quite as good as the picture. Included is an excellent commentary by film historian Kat Ellinger, who talks about the challenges in making a film with such long takes, Bergman’s sordid personal life, and enlightens viewers about the making of the film. There is also a 12-minute audio interview between Hitchcock and Francois Truffaut as well as a 27-minute interview from German television with Claude Chabrol of Cahiers du Cinema fame. The trailer for the film rounds out the special features.

You can purchase the disc directly from Kino Lorber at kinolorber.com or through Amazon.