Sudden Fear (1952)
Such a dark and dramatic, noir-styled surprise for me. Joan Crawford as the rich daughter and talented playwright is terrific, avoiding the camp of later years and really playing a complex, emotional role perfectly. I didn't even notice that Gloria Grahame was in it, and when she shows up I knew there was going to be a thrill--she balances Crawford, and gives the third main actor, Jack Palance, a way to bounce back and forth. And Palance, as a seeming actor/lover, is two-sided and then some, and really gives the part depth. He's so believably likably it's chilling.
Add to this some of the darkest, and most shadowy, night photography you've seen, and a hard hitting orchestral score, and fast editing up and down the streets of San Francisco, and you've got a gem. It's an amazing, over-the-top movie, but it makes sense, and the last shot of Joan Crawford at night (I'll say no more) is astonishing for its emotional shifts. Yes, there is Mildred Pierce and countless other great Crawford films, but for her performance alone you have to see this one. Director David Miller I've never heard of and may never hear of again judging by his film history, but he pulls off a stylish, intense masterpiece. It's filled with common types and common twists, but a lot of them, and well done, well done.
Such a dark and dramatic, noir-styled surprise for me. Joan Crawford as the rich daughter and talented playwright is terrific, avoiding the camp of later years and really playing a complex, emotional role perfectly. I didn't even notice that Gloria Grahame was in it, and when she shows up I knew there was going to be a thrill--she balances Crawford, and gives the third main actor, Jack Palance, a way to bounce back and forth. And Palance, as a seeming actor/lover, is two-sided and then some, and really gives the part depth. He's so believably likably it's chilling.
Add to this some of the darkest, and most shadowy, night photography you've seen, and a hard hitting orchestral score, and fast editing up and down the streets of San Francisco, and you've got a gem. It's an amazing, over-the-top movie, but it makes sense, and the last shot of Joan Crawford at night (I'll say no more) is astonishing for its emotional shifts. Yes, there is Mildred Pierce and countless other great Crawford films, but for her performance alone you have to see this one. Director David Miller I've never heard of and may never hear of again judging by his film history, but he pulls off a stylish, intense masterpiece. It's filled with common types and common twists, but a lot of them, and well done, well done.