A large portion of the moviegoing public is undoubtedly ignorant, or at least unappreciative, of the effect that good or bad direction can have on a picture. If these people will go to "Suspicion" they will no longer be in the dark; for they will see the perfect example of a director's picture, in both its favorable and unfavorable aspects. For in "Suspicion" Alfred Hitchcock has taken a rather slow plot and, with all the tricks of his trade (some of them old, some of them new), has made it into a good, tense, psychological thriller. If there are moments when the movie drags, it is the fault of the plot not of Mr. Hitchcock; but if at times the directories touch becomes a little trite and a little too apparent, the blame rests entirely on Hitchcock's shoulders.

The story concerns a rather innocent young English girl who marries, after a very short acquaintance, a sophisticated, alterative, but perfectly worthless cafe-societies sort of fellow, and who becomes convinced that he is a thief and a murderer. Hitchcock builds up incident after incident, each one heightening the suspicion and the suspense--each one, demonstrating just what a producer can do to a picture. The acting is perfectly capable, though neither of the leading parts demands a great deal of ability. Cary Grant steps lightly out of his usual character, since in this case he is not entirely a Lovable Fellow; and Joan is much the same as she was in "Rebecca."

"Moonlight in Hawaii" is nobody's picture--not the producer's, not the director's, not the actor's, not the gag-writers'; nobody's, not even the garbage man's. It's one of the cheapest, slowest, corniest, dullest pictures ever to come out of Hollywood. That's going .