And when his camera makes its way to a neighborhood where kids innocently play ball in the streets, the camera suddenly moves in a series of dissolves and low-angle Dutch shots upward into the no. Hitchcock establishes his darker tone instantly, opening on shots of urban decay in Philadelphia. Featuring matched action and edits, suggestive character unity and clashing moralities, Shadow of a Doubt is one of the director's more immediately guessable mysteries even as it is one of his most surprising pictures. Shadow of a Doubt, Hitch's 1943 thriller widely considered his first masterpiece, is the director's purest exploration into this minor theme. In films such as Strangers on a Train and Psycho, however, that theme has come more prominently to the fore, examined in moral terms in the former and ludicrously psychosexual in the latter. The theme of duality runs indirectly through many Hitchcock films, with the ironic alignment of two individuals in his wrong-man thrillers and the fetished quasi-double (who is really just one person period) in Vertigo.
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