A writer meets a young socialite on board a train. The two fall in love and are married soon after, but her obsessive love for him threatens to be the undoing of both them and everyone else around them.
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.
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 her desired (Monte's) lifestyle, 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 ... Written by
Ed Stephan <email@example.com>
The film was made around the time Jack L. Warner asked the studio's cinematographers and art directors to "devise new means of cutting corners without losing any of the quality." Apparently there was concern that too much detail was being used in sets, which in turn, took more time to light and thus slowed up production. Despite this proclamation, the film suffered no loss of set detail. Beneath its noir lighting lay strikingly complex settings like the Beragon beach house. So essential to the plot that it opens the film, Beragon's home is a twisting maze of rooms and staircases that perfectly represent Grot's desire to build "menace into the sets." See more »
The placement of the hat-stand after Bert arrives home. See more »
You think just because you made a little money you can get a new hairdo and some expensive clothes and turn yourself into a lady. But you can't, because you'll never be anything but a common frump whose father lived over a grocery store and whose mother took in washing.
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The opening credits are presented with a background ocean scene that "washes" the credits on the screen. See more »
What a great movie this is even on my (I think) 4th viewing. Joan Crawford excels in the title role as does co-star Ann Blythe who normally played sickly sweet heroines. Here she is the manipulative narcissistic daughter. The tension builds throughout this movie, the script is excellent and all the minor roles are cast and played beautifully. Eve Arden is wonderful as the second banana, she is dry, droll, witty and jaded and gets this across so well and is a wonderful counterfoil to Joan's intense mothering. The ending is very satisfying and feels exactly right. Why don't they make them like this anymore. a 9 out of 10.
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