The wife of an alcoholic writer must take a job as a taxi driver to make ends meet. A young man she picks up as a fare befriends her, but when her husband is found murdered, the police suspect she and her new "friend" committed the murder.

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(as Arnold Phillips), | 1 more credit »
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Cast

Cast overview:
...
Jane Randolph ...
Janet Urban
Karen Morley ...
Dr. Monica Anderson
...
Peter Urban
Hugo Haas ...
Hugo Kral
Holmes Herbert ...
Melvyn Russell
Michael Mark ...
Shop Owner
Mauritz Hugo ...
Bob
Peggy Leon ...
Secretary
Mary Arden ...
Nurse
Noble 'Kid' Chissell ...
Expressman (as Noble 'Kid' Chissel)
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Storyline

The wife of an alcoholic writer must take a job as a taxi driver to make ends meet. A young man she picks up as a fare befriends her, but when her husband is found murdered, the police suspect she and her new "friend" committed the murder.

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What every woman knows and only men forget...that there's only a hairline between love and hate...a story that moves swift and true towards a blazing climax!


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Release Date:

23 July 1945 (USA)  »

Also Known As:

Ciúmes  »

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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Soundtracks

Jealousy
Music and Lyrics by Rudolf Friml
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User Reviews

 
European stylistic flourishes enhance this melo.
7 June 2007 | by See all my reviews

Despite such clichéd dialogue as: "...Something has come between us. What is it?" "You wouldn't dare!" "Oh wouldn't I!" and "I feel a strange foreboding," the film does manage to transcend it's pulpy romantic triangle plot.

This is achieved mostly through a European influenced, "downbeat" atmosphere at odds with the conventionally optimistic American take on life, (this is light years from "It's a Wonderful Life," though both films deal with masculine bread-winner failure).

Indeed, the film seems to have considerable sympathy for Nils Asther's ex-patriate European writer who, disaffected by his new environs, can't make the grade once in the states, and turns to drink and self pity.

But it is through mood rather than scripting that the film earns it's keep, specifically some effective, (if occasionally heavy handed)stylistic flourishes. Thus we have an abundance of tilted camera angles, great looming shadows of creeping figures on the walls at night, dead sea gulls, repeated musical motifs--Brahms etc, (the film bears some stylistic traits in common with with "Strange Illusion")etc.

Most interesting of all is the re-appearance of the same living room setting previously used in "Strange Illusion," "Fog Island" and "I Accuse My Parents." Here slightly re-dressed and reconfigured, it serves as the drawing room of John Loder's character. All of which is doubly odd, since this film is a Republic production, and makes one wonder why they were sharing sound stages and settings with rival PRC.


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