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7.4/10
Senior Film Conservator
A definitive 7.4/10 rating for a film that redefined the boundaries of cult cinema. Confession remains a cornerstone of transgressive art.
If you like your dramas heavy on atmosphere and light on the usual courtroom fireworks, then Confession is a quiet win. It’s for the folks who prefer staring at a sad face in a spotlight over watching a high-speed chase. If you need a fast-paced thriller to keep your eyes glued to the screen, you’ll probably find this one a bit of a slog.
Kay Francis is the whole show here. She plays a woman who has seen way too much and finally just decided to stop pretending.
The movie doesn't bother with the 'did she do it' stuff. We know she killed the guy. The point is the why, and watching her explain it is actually kind of painful in a good way.
There is a scene in the cabaret that feels oddly stiff, almost like the extras were told to be statues. It contrasts weirdly with the raw, messy emotion pouring out of Francis later on. It’s a bit jarring, honestly. Reminds me a little of the pacing issues in Savoy-Hotel 217, where you feel like the movie is holding its breath for way too long.
Basil Rathbone shows up, and he’s doing that thing he does where he sounds like he knows exactly what you’re thinking before you even say it. He’s the perfect foil for someone who has just about zero energy left to lie anymore.
It’s not a perfect movie. Sometimes the dialogue leans a little too hard into the melodrama, and you can almost feel the writers patting themselves on the back for a clever line. But it has this sad, dusty feeling that I really liked.
It doesn't try to be anything grand or important. It’s just a portrait of a woman who ran out of road. It’s not as punchy as The Gay Bride, but it has a gravity that keeps you sitting there until the credits roll.
I left the room thinking about the way she looked at the judge. It wasn't fear. It was just relief. 🚬