Johnny Farrell is a gambling cheat who turns straight to work for an unsettling casino owner Ballin Mundson. But things take a turn for Johnny as his alluring ex-lover appears as Mundson's wife, and Mundson's machinations begin to unravel.
A private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses and duplicitous dames.
Years after her aunt was murdered in her home, a young woman moves back into the house with her new husband. However, he has a secret that he will do anything to protect, even if it means driving his wife insane.
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 <firstname.lastname@example.org>
Michael Curtiz was initially less than keen at working with "has-been" star Joan Crawford as she had a reputation for being difficult. Curtiz was soon won over by Crawford's dedication and hard work. See more »
When Monty is pouring Mildred a drink, he asks her to say "when" for when she wants him to stop pouring, but then gives her the drink he poured for himself. See more »
Well, that's that!
I'm sorry this had to happen; sorry for the boy, he seemed very nice.
Oh Ted's all right really. Did you see the look on his face when we told him he was going to be a father?
I wish you wouldn't joke about it.
Mother, you're a scream, really you are. The next thing I know you'll be knitting little garments.
I don't see anything so ridiculous about that.
If I were you, I'd save myself the trouble.
You're not going to have a baby?
[...] See more »
The opening credits are presented with a background ocean scene that "washes" the credits on the screen. See more »
You Must Have Been a Beautiful Baby
Music by Harry Warren
Lyrics by Johnny Mercer
Played and sung at Wally's club toward the beginning
Also played when Veda and Ted are at Wally's club 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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