At the start, there's a swift and sustained twenty minutes or so, painstakingly pieced together with wary point-of-view shots and edgy circuitous dialogue, as the finger of guilt turns toward a Catholic priest, who has learned the real killer's identity in the confession box. This places the priest in what's known as a dilemma. Also known as a damned contrivance. Hitchcock, working the Wrong Man side of the street again, takes an engineer's finicky interest in the design and construction of the snare, and only a tinkerer's fickle interest in the moral and psychological ramifications. Montgomery Clift, Anne Baxter, Karl Malden. (1953) — Duncan Shepherd
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