The Deadliest Sin

One of the users was right when he mentioned Hitchcock's "I confess" ;it also reminds me of the master's masterpiece "shadow of a doubt".

Louise's small village is a quiet peaceful place ("one murder a year" says the superintendent)with its pub ,its church and its shops ;Audrey Dalton, like Teresa Wright in "shadow" is an all-English (American) girl ,who does not know evil and who takes care of her disabled dad ;with Alan ,she never talked marriage .

She encounters evil through one member of her family (a brother for her,an uncle for Wright);the first time we have met Mike,he seems a nice guy coming home (like a brave soldier ) whereas Alan ,loaded with bottles when he enters the house , might be an alcoholic.

But you should not go by appearances : however, it's a long time before Louise realizes and (accepts) what her beloved brother is ;the cast is strong : Audrey Dalton is the gentle "sis" who is confronted to things she would not imagine in her darkest nightmares;Sidney Chaplin (a handsome man , the look of a hero)gives the jitters with his suave smile and his threats ;Peter Hammond makes all his scenes count,as a true Christian believer tormented by guilt :his confession (a good prologue too) is a great moment.

Directing is not as inventive as Hitchcock's ,but in the last scenes , Hugues excels himself ,with a stunning finale : the use of the great organ and of the bell are worthy of the master of suspense .(and "Vertigo" had not yet happened).

Charlie Chaplin's son Sydney Chaplin gets first-billed in a British Film Noir titled CONFESSION aka THE DEADLIEST SIN; the melodramatic alternate title references a priest who overhears the wrong confession from a confessor killed right after uttering what he's done, sort of...

And it's all the fault of Chaplin as prodigal son Mike Nelson, back home from America (with no British accent) with his crippled father and gorgeous sister Audrey Dalton...

She thinks big brother's as clean as the driven snow, providing what others have noticed is similar to Alfred Hitchcock's "cute niece loves her charmingly vicious uncle" SHADOW OF A DOUBT as well as I CONFESS with a targeted priest, leaving Chaplin little to do but look ominous and secretive, especially after sister loses trust since her boyfriend (and both their childhood friend) is the one killed after committing a retaliation-style murder of square-jawed Patrick Allen, who was blackmailing the suitcase-full-of-cash Chaplin in a thriller where the important side roles die off too quick to matter...

And, sadly, what began as a chance for Sydney Chaplin to shine darkly (looking more like he'd be Victor Mature's brother than Charlie Chaplin's son), the picture winds up in the hands of cop John Bentley, who... as the tail wags the dog... would have been better left in the background.

There are some great moments in this film, and they always come with a vengeance as a surprise. Perhaps the greatest titbit is the parenthesis with the blonde in the bar, a special treat and a delightful change of scenery, which otherwise throughout the film is rather grey and stale.

It all happens in a small town in England, where a lost son is coming home to his crippled father in a wheelchair and his sister with a boyfriend, who is an architect. Nothing ever happens in this town of Tunbridge, but on the arrival of this prodigal son, whom no one knows what he has been up to in America, there are two murders in two days. He has not committed the first one, and there are no witnessaes to the second. However, the springing point in this film is the confession which introduces the film, in which the architect, a catholic, makes a confession to a priest, and the priest, who knows all, must not on any circumstances reveal the confession, That's the law of the church. So the police, who knows that the priest knows, is in a predicament.

The sweety pie in the bar is Dorinda Stevens, whom you never have seen in any other film, while she is very much like Carolyn Jones in "Shield for Murder" the year before - the scene is almost copied, but here the soft Dorinda brings Sidney Chaplin home.

Although a sorry story, it's an interesting development of it with a grand Hitchcockian finale in church worth waiting for. Sidney Chaplin sustains his difficult and extremely revolting character to the end and at least makes a great act of it. Pity that young Englishmen should go to America to learn such bad manners.

CONFESSION is one of those British thriller cheapies shot at Merton Park Studios and watching it you realise right away just how influenced by the minor Hitchcock film I, CONFESS it is. The story begins with a couple of American hoodlums arriving in Britain, only to fall out, and murder ensues. A priest hears a confession from one of the crooks and is involved in the subsequent investigation. I struggled with this one for the dearth of action and atmosphere, plus it generally lacks the suspense that makes thrillers of this era. Former Paul Temple John Bentley plays the cop, and there are minor parts for both Percy Herbert and Patrick Allen.

...than a priest break the seal of confession.

Sydney Chaplin stars with Audrey Dalton and Peter Hammond in "The Deadliest Sin" from 1955.

Chaplin plays Mike Nelson, who has been living in America and returns to his home in England after some time. No one has been exactly sure what he's been doing. We find out soon enough, however, that he's been up to no good.

First, there's the false bottom of his suitcase filled with thousands of dollars. Then he meets a threatening American at the post office, whom he agrees to meet that evening.

The money is from a robbery, and Mike's partner wants his cut. The two struggle, and the partner begins strangling Mike. Mike's buddy Alan has come there to meet him, and Mike keeps screaming for him to get the gun. Finally, Alan shoots the man and kills him.

Mike tells him they cannot go to the police, and they drive off. Alan is devastated. He is very religious and can't believe he took a life. He goes to confession; while there, he is murdered.

The police are aware that the priest must know something, but they can't get anything out of him. It's up to them to find another way to solve the two murders, which they believe are connected.

Pretty good noir with Sydney Chaplin playing a man with not one redeeming quality, a real user who doesn't care about anyone. Audrey Dalton plays his sister, a lovely Jean Simmons type, who suspects Mike.

Absorbing.