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Law on Film
Law on Film explores the rich connections between law and film. Law is critical to many films, even to those that are not obviously about the legal world. Film, meanwhile, tells us a lot about the law, especially how it is perceived and portrayed. The podcast is created and hosted by Jonathan Hafetz, a lawyer, legal scholar, and film buff. Each episode, Jonathan and a guest expert will examine a film that is noteworthy from a legal perspective. What does the film get right about the law and what does it get wrong? Why is law important to understanding the film? And what does the film teach about law's relationship to the larger society and culture that surrounds it. Whether you're interested in law, film, or an entertaining discussion, there will be something here for you.
Law on Film
Shadow of a Doubt (1943) (Guest: Daniel Ortiz) (episode 62)
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Alfred Hitchcock’s 1943 film, Shadow of a Doubt (1943), sets a murder story inside what seems the safest place imaginable: an ordinary American family in an ordinary American town. But as suspicion gathers around Uncle Charlie (Joseph Cotton), the film slowly exposes something more unsettling than a single killer on the run. It reveals how charm, respectability, and social status can insulate wrongdoing from scrutiny — and how communities prefer comforting narratives to disruptive truths. The police investigate, but they move hesitantly; the town remains confident in its own innocence. The real drama unfolds not in the courtroom, but at the dinner table. The film explores law’s capacity — and its limits. How does misogyny operate not just as motive but as ideology? What happens when loyalty to family collides with loyalty to justice? And in a film released at the height of World War II, is Hitchcock warning that the most dangerous threats to democracy are not always foreign invaders, but may also be charismatic figures embedded within everyday life?
Timestamps:
0:00 Introduction
2:13 Teaching law students through film
5:54 Shadow of a Doubt and law’s inadequacies
11:11 The film’s setting and Santa Rosa, CA
14:54 Imagining the perfect crime
21:21 Misogyny in Shadow of a Doubt
27:48 Playing with crime genres and narrative structures
32:58 Hitchcock’s cameo
35:16 Doubling and other filmic techniques
48:19 Complicity in covering up the evil
51:11 A critique of wartime idealism and the narrative of the enemy within
56:17 Questioning American institutions
Further reading:
Eggert, Brian, Shadow of a Doubt, Deep Focus Review (Mar. 2, 2013)
Hughes, Rowland, “Shadows and Doubts: Hitchcock, Genre, and Villainy,” in The Devil Himself: Villainy in Detective Fiction and Film (Stacy Gillis & Philippa Gates eds. 2001)
Modleski, Tania, The Women Who Knew Too Much (1988)
Scovell, Adam, “Why the sinister Shadow of a Doubt was Hitchcock’s Favourite,” The Telegraph (Feb. 7, 2023)
Truffaut, Francois, Hitchcock (Simon & Schuster, 1985)
Wood, Robin, Hitchcock’s Films Revisited (2002)
Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember.
For more information about Jonathan, here's a link to his bio: https://law.shu.edu/profiles/hafetzjo.html
You can contact him at jonathanhafetz@gmail.com
You can follow him on X (Twitter) @jonathanhafetz
You can follow the podcast on X (Twitter) @LawOnFilm
You can follow the podcast on Instagram @lawonfilmpodcast