I agree with the Spellbound assessment but I still like the idiocy of the enlarged prop. The Paradine Case has at least one of the less exuberant performances of Laughton, a thespian I often loathe. He personifies well the hideous evil that Hitch likes dish out, and he does it mainly by appearing smug. Heh. I like Joan Fontaine, perhaps more so in Suspicion than Rebecca. Suspicion is probably a great example of how problematic it is to dismiss a Hitch film. It may well fail to obtain a desirable narrative outcome (what were they thinking?) but other elements (the abstract painting, the cobweb lighting, the link with female hysteria and domestic paranoia) come forward and remain interesting. If I had to choose one that I cannot appreciate on any level it's Jamaica Inn. I'd like to know why Selznick irks you so. I haven't read his biography, so limited knowledge. I figure him as a workaholic with so-so taste in translating literature to film but also as the prototype for the quasi-intellectual Hollywood producer of which we now have...I don't know, Saul Zaentz? Laura Ziskin? Or...could it be...Harvey? :)