Hitchcock famously claimed, as late as 1972 near the end of his career, that Shadow of a Doubt was his favorite of his films. Either we’d see the ring and know she’d prevail, or we’d see that she left it behind, in which case Hitchcock would either have to change the ending or weaken the pattern. If her hands were exposed, there would be no suspense. This pattern is so consistent that in the climactic struggle on the train, Hitchcock finds it necessary to put the young Charlie in gloves. This aggression will soon escalate into two murder attempts on his niece.įinally, when Charlie comes down the stairs flashing the emerald ring to all the family and guests, her uncle does her bidding without hesitation and promptly announces his departure from Santa Rosa the next day. Uncle Charlie then puts his hand over it, and he suddenly turns aggressive.

When she puts the ring on the table, for a brief interlude it remains neutrally between them as the waitress drools over it, and the two Charlies both bow their heads as if drained of energy. Later in the ‘Til-Two café, before the ring changes hands again, Uncle Charlie is still nervous around his niece and laughs sheepishly. First she throws him off balance by noticing the engraved initials, and then she tells him to bring coffee into the dining room.

When Uncle Charlie arrives in Santa Rosa with the ring in his baggage, his niece is practically infatuated with him and always bends happily to his will, but as soon as he gives it up she turns the tables on him. This ring is like Tolkien’s legendary ring because whoever gets it immediately holds the upper hand in the relationship.

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