The Broadway production of "Lady in the Dark" was designed by Harry Horner, whose set design used an inner turn-table, with an outer turn-table ring, with both turn-tables operating simultaneously, either in the same direction, or turning in opposition of each other. Noteworthy is the fact that this productions' turn-table set design was a first time, use of turn-table, on a Broadway stage, although turn-tables had been previously used in European productions. Harry Horner had been brought to New York by Max Rhinehart for his imported "Mid Summer's Night Dream" as his stage manager. Harry Horner remained in New York designing scenery afterwards. See more »
I like this movie. It is confusing and difficult, but you can't help but like it. Ginger Rogers plays a fashion magazine editor...and she finds herself having headaches and feeling dissatisfied. This makes no sense, as she has an exceptional job (especially for 1940) three suitors, and conscious and unconscious lives that are fabulously costumed. She goes to her doctor who recommends a psychiatrist...a drastic move for the time...which she promptly declines...but then does finally go to. Ginger undergoes a great deal of stress in this film,and keeping a bottle of aspirin at hand might be wise. As she makes progress with her shrink...her dream sequences become more and more lavish. The film is beautifully costumed...even clothes left lying on a chair...are fabulous. And there are HATS. HATS. Hats... mousey through military...lots of hats...and FURS...Ginger has one dress with a floor length mink skirt...lined with gold and scarlet sequins, two or three fur coats, a muff, and several other dresses trimmed with fur. Pull the shades and make certain that no one from PETA is around when you run this film. The dream sequences are the real meat of this...they are very beautiful and very surreal. In the end, of course, Ginger selects one of the men (no, not the married one) and seems to be on the road to recovery. You get the feeling that a lot got left out...and I don't know what (yet). I know Danny Kaye was 'discovered' in the Broadway show...and that he had special material. Danny was under contract to Sam Goldwyn by the time this was made...so neither he nor any of his special material made the transition into this film. This film is a visual knock out...and a restored print should be made and hi-def DVD's struck...so we can watch this from time to time. It cannot help but remain dated and politically incorrect....that is the legacy of its 1940 dateline.. but it will certainly always be stunning to look at.
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