Her guilt comes because she knows anything and doesn't tell others. Her uncle is suspected, and she could turn him in and protect other women. She does not do this. Uncle Charlie's guilt is transferred to his niece because she may be the only a single who knows about it, and this creates a trouble for her in her loved ones and her community. Her genuine guilt is completely in not telling anyone about what she has learned of her Uncle Charlie. Her guilt is a single of omission rather than commission, but it nearly leads to her death.
The fact that the names are the same is a Hitchcock device that links a couple of characters and that allows to your audience to see very easily that guilt is becoming transferred from a single namesake towards other. Hitchcock uses other devices at different times--in The Wrong Man it's a physical similarity that may be at fault, though in Vertigo it is a complex plot and also the mental structure of each the hero and the a couple of women he thinks are numerous people. In North by Northwest the transference is completely accidental once Thornhill calls in your bellboy. In Strangers over a Train the transference is based more over a actual sense of guilt because the tennis pro does want his wife removed, even though he would in no way kill her. Much more always than not, the transference is on the accidental variety, a way Hitchcock has of showing the way sin can seem at any time and the true sin of complacency that is certainly possible in life.
The transference in Shadow of the Doubt is neither true nor accidental. It takes location at a subtler level, largely inside psychology of young Charlie. She assumes the role of scapegoat to your sleep of her family in order to protect them, particularly her mother. Her father and his friend represent a comic illustration in the assumption of guilt--they are usually devising ways for murder as an exercising and would in no way carry one out, no matter how bloodthirsty they manage to sound. Young Charlie discovers really by accident that her Uncle Charlie does carry out such murders, and the knowledge binds her to his crimes because she requirements in no way to obtain to reveal them to her mother.
This is another source of guilt for young Charlie she cares for Uncle Charlie and yet knows that he ought to be punished for what he has done. She also knows that in some way she will likely be instrumental in causing that punishment. No matter what she does, she will hurt an individual she loves, even if she does practically nothing at all.
Young Charlie pursues the truth about her Uncle in places which are familiar to her, places exactly where normally she would believe comfortable and safe. She goes towards the library since it is closing and is left behind to look through newspapers on her own. The library, a friendly location where she spends much of her time reading, becomes a location of darkness and hidden evil as she looks through the papers, as she hears the waltz in her head, as she sees the folks dancing in her mind, and as she learns the fact about Uncle Charlie. Hitchcock creates use of familiar elements to build menace. It would be easy to show menace inside dark city streets or in an old dark house, yet Hitchcock typically avoids that approach. He did make use of the old dark residence concept in Psycho, but after he did, the murder did not take in place in the old dark property but from the clean and well-lighted motel next door.
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