Julia Ross secures employment, through a rather-noisy employment agency, with a wealthy widow, Mrs. Hughes, and goes to live at her house. Two days later, she awakens in a different house ... See full summary »
Joseph H. Lewis
Dame May Whitty,
Mildred Pierce dotes on her daughters while husband Bert looks to Maggie Binderhof for affection. They separate leaving Mildred to raise the girls on her own. Elder daughter Veda goads her mother about their lack of money and in response Mildred proposes opening a small restaurant. Realtor Wally Fay advises her while making numerous rebuffed passes and introduces her to Monte Baragon whose property becomes the first of a chain of restaurants. Mildred has an affair with Monte. Meanwhile, money-hungry Veda pretends to be pregnant by wealthy Ted Forrester in order to bilk his family of $10,000. Mildred tears up the check, is slapped by Veda, and orders her daughter to leave. After time away, Mildred returns to find Veda singing in a cheap club. Veda will return only if Mildred promises luxury, so Mildred agrees to marry Monte in exchange for a third of her businesses. It soon becomes clear that something is going on between Veda and Monte. Mildred learns of this only after Monte has sold... Written by
Ed Stephan <email@example.com>
Mildred's house on Corvallis Street in Glendale is shown as a one-story Spanish-style bungalow, however the interior has a staircase leading to the bedrooms. See more »
You know, this is a pretty big night for you.
Yeah, lots of excitement. There's a stiff in there!
Is that so? Oh and I suppose you were running right down to the station to report it?
Say, he say's there's a dead guy in the house.
You never saw a deader.
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The opening credits are presented with a background ocean scene that "washes" the credits on the screen. See more »
The story that unfolds in Mildred Pierce is complicated and dark, and at its darkest, is a chilling portrait of a mother so devoted to her children (well, child, really) that she would go to any and all lengths for them. Although some of the situations and scenes suffer from the passage of time (the modern audience in the cinema, myself included, couldn't help laughing at some of the more ludicrous things said/done), the film as a whole worked, mostly on the strength of the performances.
Joan Crawford won her only Oscar for her role, and it was well-deserved--she held the film together with a confident performance that ranged from charming and sassy, to desperate and almost frightening. The final scenes of the film, especially, captured Mildred at her most pathetic, and Crawford looked utterly despondent in the telephone scene. Ann Blyth is utterly convincing as the spoilt, deeply disturbed Veda, narcissistic and unrelentingly manipulative of her mother. And the best supporting performance had to come from Eve Arden, who played Mildred's friend Ida--Arden saunters across the screen, stealing scenes left and right, before disappearing from view again. She was excellent!
The film is well worth the watch--not brilliant, but definitely very good. I also like the story-telling technique and the direction (the director made quite clever and frequent use of shadows and mirrors), and it's good that the darkness and melodrama was frequently mitigated by the well-written dialogue. 8/10.
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