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A secretive widower hires a governess for his children, a willful boy and impressionable girl. Strange occurrences and the governess's curiosity lead her to unlock the secrets of the mysterious and uninhabited brownstone next door.
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 »
Great score mutilated, interesting stage libretto turned into an anti-feminist tract: It seems that our heroine, a successful and independent woman, needs a man to dominate her to be happy. (The stage version had the same basic story, but the rhetoric wasn't so vehemently misogynistic.) Ginger was more than a singer-dancer -- she could act, and had an Oscar to prove it -- but here her playing is dull and unimaginative. She, the art and costume and make-up departments, and the director seem concerned with two things only: the look of Ginger, and the look of the film. She looks fine, and the gaudy production design is a Technicolor riot, if not in the best of taste. The visual splendor makes the film worth seeing, but you'll have to tune a lot of nonsense out.
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