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24 out of 26 people found the following comment useful :-
Hidden Dynamism, 9 December 2005

Author: bkoganbing from Buffalo, New York

Martha Ivers, a young girl under the guardianship of her grandmother played by Judith Anderson, tries often to run away, but is brought back every time. Grandma is one powerful autocratic and twisted old woman. One night after Grandma kills the girl's cat, she kills her. Her tutor's son sees the deed and now has blackmail power. Young Martha also thinks someone else has seen the deed, young Sam Masterson who she has a yen for. He actually skedaddled before witnessing anything.

Flash forward several years. Now everyone is grown up. Barbara Stanwyck is Martha and she's married the tutor's son played by Kirk Douglas in his film debut. He's also the District Attorney. And the main action of the film begins as grown up Sam Masterson who is played by Van Heflin comes back to his home town. He's treated rather strangely and it takes him a while to figure out why.

Life has a funny way of working out and Stanwyck has essentially turned into Anderson. Heflin is no real hero here either, he's quite willing to engage in some blackmail. But he's redeemed somewhat by the love of another girl from the wrong side of the tracks, Lizabeth Scott.

The film is memorable for two reasons, the power packed performance of Barbara Stanwyck and the debut of Kirk Douglas. This is a choice Barbara Stanwyck role, a powerful ruthless woman who'll do anything to keep and protect what's hers.

It's odd that Kirk Douglas makes his debut as a weakling, but even stranger that the dynamism that is his screen trademark is so well hidden in this portrayal. This part isn't exactly Spartacus. But Kirk is one capable player.

Heflin and Scott do well in their respective parts, but even though she's only on the screen for the first 15 minutes the one you won't forget is Judith Anderson. Seeing Stanwyck with her machinations later on, you wonder what must have made Anderson such a twisted human being.

The Strange Loves of Martha Ivers is a well plotted melodrama that does credit to all involved.

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21 out of 23 people found the following comment useful :-
Underrated Noir with an excellent cast., 5 December 2003
Author: Infofreak from Perth, Australia

Knowing absolutely NOTHING about this movie (apart from it being the screen debut of Kirk Douglas) I thought it was going to be a potboiler, but I was pleasantly surprised at how good it was. It veers between Noir and melodrama, and I gotta say I was hooked from the get go. I'm not the biggest Barbara Stanwyck fan in the world, but she was well cast as the ruthless matriarch of a small town, and Douglas really pulled off an unusual role for him (basically a drunken wimp). Van Heflin ('Shane') plays the "hero" and holds his own against those two, and I also really liked Lizabeth Scott, an actress I'm not familiar with, who plays Heflin's love interest (sorta). 'The Strange Love Of Martha Ivers' will please fans of 1940s Noir. It deserves to be better known than it is.

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18 out of 19 people found the following comment useful :-
Star Power to Spare, 27 March 2002

Author: harry-76 from Cleveland, Ohio

A powerhouse cast is assembled for "The Strange Love of Martha Ivers." It's a treat to watch this able quintet at work, making for an engrossing film experience.

Barbara Stanwyck is at her peak--sure, confident, and unfailing. Van Heflin's natural talent makes everything he does seem effortless. Kirk Douglas offers a most impressive film debut in what, in retrospect, is an uncharacteristic role. Lizabeth Scott (who seems to me a fascinating cross between Lauren Bacall and Rosemary Clooney) is constantly engaging. Long after her part has faded, Scott's image remains indelibly fixed in the memory. And finally, the great Judith Anderson is on in a strong character role.

Miklos Rozsa's compositional style is remarkable in its adaptablity. Close one's eyes, and the film could well be set a thousand years earlier--or any point in between. Which is to say, it's general, while at the same time, specific.

The writing team headed by Robert Rossen created a slick and saucy script, which holds interest throughout, and Hal B. Wallis was sharp enough to retain this productional team formula for many years. Were the film to have been given a perhaps more poetic--less Gothic--title, it might have enjoyed even greater stature in the annals of the genre.

As it is, "Ivers" is a worthy member of the noir film family.

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16 out of 16 people found the following comment useful :-
"It's what people want, and how hard they want it, and how hard it is for them to get it.", 25 September 2006

Author: imogensara_smith from New York City

"Don't look back, baby," says a man who knows his Gideon Bible, "You know what happened to Lot's wife." But her fate is mild compared to the torments of two people—and a third they draw into their web—who can never stop looking back to something that happened when they were children. What connects this melodrama with noir films like the perfectly named OUT OF THE PAST, THE KILLERS (in which the hero explains that he is doomed because, "I did something wrong, once"), and many others is the theme that one mistake, one "reckless moment," can seal your fate forever.

The three children are Sam Masterson, a streetwise kid from the wrong side of the tracks; Walter O'Neil, a timid, obedient boy whose father is ambitious for him; and Martha Ivers, the orphaned heiress to a steel mill, who lives miserably with her aunt (Judith Anderson, in Mrs. Danvers mode). On the fateful night, all three are in the house when Martha, driven over the edge (her aunt both insults her dead father, a mill hand, and beats her kitten!) whacks her aunt with her own cane and sends her tumbling to her death at the foot of a grand staircase. Walter's father sees his chance, and holding the threat of exposure over Martha's head, takes control of her fortune and later forces her to marry Walter. When, eighteen years later, Sam (who ran away night of the killing on a circus train) blows back into town, Martha and Walter fear he has returned to blackmail them with his knowledge; Walter also fears, rightly, that Martha and Sam still carry a torch for each other. The highly-charged triangle becomes a quadrangle with the addition of Toni Marachek, a young woman just out of jail whom Sam picks up and befriends.

THE STRANGE LOVE OF MARTHA IVERS is a conventional studio product, lacking the expressive camera-work or atmospheric settings that noir usually offers. Bombastic music deafens each emotional climax; women go to sleep with their glossy masks of makeup intact; obvious back-projection and poorly staged action sequences make the film look like a staged play. None of this really diminishes the movie, however, since its power comes from a smart script, especially from the complexity of characters and relationships. There is a strong affinity between Sam and Martha, both tough and poised and hard to read, while Toni and Walter are more vulnerable and obvious, driven by the simple motivation of love. But by the end it's clear that Martha and Walter have become twins, warped by their shared guilt (they both took part in prosecuting an innocent man who was hanged for the murder), while Sam and Toni share a fundamental decency and the capacity to look ahead to a fresh start.

Nice girl Toni is there to provide eye candy and a potential happy ending for Sam, but she gets a lot of screen time, too much in fact for her one-note character. Fans of Lizabeth Scott won't agree, but unless you find her particularly alluring, her scenes get a little tedious. Van Heflin is easy-going as Sam, the self-confident gambler who thinks he's seen it all, until he encounters Martha and Walter's toxic marriage. Heflin, though rather homely, brings a likable raffishness to the part, and his casual opportunism keeps you guessing about what he'll do next.

Kirk Douglas was never cast as such a weakling again (this was his debut film) but the mismatch works brilliantly. His intensity and powerful presence make his abject character fiercely compelling, instead of merely pathetic. A less imposing actor would come off as just a milquetoast; Douglas's manliness adds an interesting touch of perversity to his plight. His weakness is inside. Douglas captures perfectly Walter's insecurity and helpless jealousy, his cowardly use of his power (through Martha's influence, he has become District Attorney), his lame attempts to project confidence, his dependence on alcohol to salve his humiliation. He's not dumb; he knows that Martha would never have married him without the threat of exposure, but he clings to his feeble hold on her because he loves her desperately. You can't help feeling sorry for him, especially when Martha accuses him and his father of coming after her money like leeches, and he cries out, "All I wanted was you!"

Then there's Martha, the mysterious center of the film. Barbara Stanwyck has an amazing ability to draw the audience to her side and at the same time make one's blood run cold. She's in her prime here as a glamorous businesswoman (with steely satisfaction she shows off the improvements she made to the factory, "all by myself") who conveys total control, yet feels trapped in a life she loathes. Her hardness is at once glorious and chilling; she controls her husband like a cruel hypnotist. When she breaks down in tears and tells Sam that she has been the victim all along, powerless and frightened, like Sam you're moved but not quite sure you believe her. Even at the end, the ambiguity is unresolved: how much is Martha the victim, how much the villain? Walter says it's no one's fault; it's just the way things are; it's what people will do to get the things they want. The scenes between Martha and Walter are the highlight of the film, saturated with a poisonous mixture of love and hate, tinged with sado-masochism ("Even pain at your hands…" Walter sighs when she puts iodine on his cut hand). This pact with desire, fear, greed and guilt is the spectacle of ruin--the Sodom and Gomorrah--that prompts Sam to warn Toni, "Don't look back, baby; don't ever look back."

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16 out of 17 people found the following comment useful :-
Don't Ever Look Back, 8 February 2007

Author: Claudio Carvalho from Rio de Janeiro, Brazil

In 1928, in Iverstown, the heiress Martha Smith Ivers is caught by the police for the fourth time while trying to runaway home with her friend Sam Masterson. She hates her aunt Mrs. Ivers (Judith Anderson) and while in her room with her tutor's son Walter O'Neil and Sam later, the power runs out and she asks Sam to bring her cat back to the room. When Sam is trying to catch the cat in the dark, her aunt comes to the staircase and Sam hides himself. Mrs. Ivers hits the cat with a stick, Martha pushes her in the staircase and Mrs. Ivers dies. Martha lies to Mr. O'Neil and tells that a man had killed her aunt, and Walter confirms the lie. Eighteen years later, Sam (Van Heflin) is driving in the road nearby Iverstown, but he does not pay attention in a curve and hits his car in a post. He brings his car to a body shop in the industrial town, and while waiting for the repair, he meets the gorgeous Antonia Marachek (Lizabeth Scott) in front of the house where he lived. When Antonia loses her bus to her hometown, she accepts the invitation of Sam for a drink and later she goes to his hotel. On the next morning, Antonia is arrested for violation of probation, and Sam decides to pay a visit to Walter O'Neil (Kirk Douglas), now a successful district attorney and married with the wealthy Martha Ivers (Barbara Stanwyck), to ask him to release Antonia. When Walter sees Sam, he believes Sam wants to blackmail Martha and him, and his misunderstanding leads the former friends to tragic revelations about the fatal night and discloses dirty secrets about the couple Martha and Walter.

"The Strange Love of Martha Ivers" is an amazing underrated film-noir. The flawless story is excellent, disclosed in an adequate pace and developing perfectly the despicable characters. The black & white cinematography is magnificent, and the fatal character of Barbara Stanwyck is one of the most dangerous and manipulative villains I have ever seen in a film-noir. Kirk Douglas is great in his debut, but Van Heflin and Lizabeth Scott steals the movie with their performances and chemistry. My vote is ten.

Title (Brazil): "O Tempo Não Apaga" ("The Time Does not Erase")

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16 out of 17 people found the following comment useful :-
One of the best of the noirs!, 28 March 2001
Author: trudyr_1999 from Burbank, CA

This is a well-written, well-acted, thoroughly absorbing film noir. The always-great Barbara Stanwyck is at her sultriest as Martha, and Van Heflin is incredibly sexy and masculine as Sam. Watching this movie, you wouldn't think Kirk Douglas, who plays the weak-willed, alcoholic Walter, would soon become a bigger star than Heflin and play the tough, romantic hero parts like Sam Masterson. Douglas excelled at those parts, as he did with a very different type of part in this movie, but I can't help thinking that if Heflin had gotten more of those roles, he would have been just as big a star. Husky-voiced Lizabeth Scott rounds out the star foursome nicely as Toni, a wrong-side-of-the-tracks girl who's been burned by trusting the wrong men. This movie, more than most of its era, trades in shades of gray; the "bad" characters, Martha and Walter, have reasons for the evil they do, while the "good" characters, Sam and Toni, are no angels--he's a decorated war hero, but he makes his living by gambling and once killed a man in self-defense, while she just got out of jail. This complexity adds to the film's interest. The film also provides a believable depiction of small-town life; it's realistic, no Bedford Falls. The flashback portraying several of the characters as teenagers has the spark of reality as well. Highly recommended.

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13 out of 13 people found the following comment useful :-
acting tour de force with great film noir plot, 22 February 2006

Author: jeff from chicago usa

this movie is one of those lost gems. barbara stanwyck and kirk douglas do a great job but they are not the reason this is a great gem. van heflin (of shane) and lizabeth scott are superb and in some ways overshadow kirk douglas in his screen debut and stanwyck. lizabeth smolders and pouts her way to perfection, what a babe!!. lizabeth should have been a huge star especially in the film noir genre. both van heflin and lizabeth scott are massively underrated and typically not remembered. that is a shame since they both were fine actors, that is the present generations loss. the plot is superb and throws some nice curves that keeps you on your toes.

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15 out of 17 people found the following comment useful :-
Whisper her name: Stanwyck as twisted steeltown autocrat, 24 May 2003

Author: bmacv from Western New York

Lewis Milestone's The Strange Love of Martha Ivers presents a, well, strange case. Much if not most of it fits comfortably into the noir cycle that was just gathering its head of steam. But its look, save some recurrent bus-station shots, suggests lavish and well-lit prestige productions (as does its length), and in its deep-rooted narrative it harks back to sprawling, brooding melodramas such as Kings Row.

That narrative is broken-backed as well, with two disjointed time frames. The movie opens in 1928 in sooty Iverstown, a steel city almost certainly somewhere in Pennsylvania. There we meet, as teenagers, three of the story's principals: Unruly Martha, making yet another attempt to run away from her wealthy, rigid aunt (Judith Anderson); her street-urchin buddy Sammy; and prissy school-teacher's son Walter. On the night Anderson is bludgeoned to death (to the tune of lightning, thunder and crashing rains), Sammy waits for Martha to join him; when she doesn't, he signs up with the circus and blows town.

Fast-forward to 1946, when decorated veteran Sammy (Van Heflin), headed west, cracks up his car and finds himself once more in Iverstown. He meets up with the fourth main character, Lizabeth Scott, who not unlike himself has been knocked about (she's a jailbird). When the police lock her up for violating parole, he pays a visit to his old friend Walter (Kirk Douglas, in his debut), now the district attorney, to secure her release.

Douglas, who rarely draws a sober breath, holds the office thanks to the ambition and power of his wife Martha (Barbara Stanwyck). (The original publicity campaign cautioned `Whisper her name!') When she shows up unexpectedly and warmly greets Heflin, all Douglas' insecurities and jealousies erupt; not only does he suspect that Heflin has always been his wife's first love but he fears that Heflin, privy to the long-buried secret of the aunt's death, can undo his marriage, his success, and the industrial empire Stanwyck has built. He takes heavy-handed measures to defend himself, blackmailing Scott into framing Heflin. But hasn't reckoned with the resourcefulness of his adversary – or with the wilfulness of his wife.

But the story is really plotted along romantic coordinates whose intersections are punctuated by Miklos Rozsa's throbbing score. Douglas loves Stanwyck, who really loves Heflin, while Scott loves Heflin, who loves her back but still has unfinished business with Stanwyck (no wonder Douglas drinks – nobody loves him). And in the rondelay of turnabouts and betrayals (or seeming betrayals), The Strange Love of Martha Ivers slips perilously close to soap opera. Its stately pace and prosperous look give it a dated, ponderous feel, quite unlike the rough sleekness of film noir, though there's an unmistakable echo of Double Indemnity – Stanwyck's performance as Martha Ivers reworks hers as Phyllis Dietrichson, right down to the concluding love-death tableau.

But, while occasionally cumbersome, The Strange Love of Martha Ivers stands on its own as an overwrought, obsessive drama, with a very topical acknowledgment of the insulation that money and power can buy, and of the moral and social corruption that inflexibly comes as part of the package. It's a strange movie, all right, but a haunting one as well.

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16 out of 19 people found the following comment useful :-
Van Heflin & Lizabeth Scott Were The Real Stars, 16 August 2006

Author: ccthemovieman-1 from Lockport, NY, United States

Barbara Stanwyck and Kirk Douglas got top billing on the VHS and DVD boxes I've seen but the real stars of this movie are Van Heflin and Lizabeth Scott, the likable albeit corrupt two of the foursome.

This is listed as a crime movie, a film noir, but at times is much more of a melodrama than anything else. It's a little too talky for my tastes yet I still enjoyed it because the acting is top-shelf, the dialog is fun and you get involved with the characters. The film could have used more action. With the 'soap' angle, it reminded me a bit of another melodramatic noir, Mildred Pierce, except the latter is a better film.

This was Douglas' first major role and he handled it well. It's no surprise he went on to be big star. I never thought Scott was all that beautiful, but she looked very good here, the best I've seen her.

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12 out of 12 people found the following comment useful :-
Return from the past, 27 July 2005

Author: jotix100 from New York

*** This comment may contain spoilers ***

The prologue to "The Secret Loves of Martha Ivers" suggests a Gothic movie, with the spooky figure of Mrs. Ivers dominating the eerie household that Martha wants to flee; then, the film changes to a noir with a fine plot. In fact, Lewis Milestone, the director, has mixed styles in the picture, but the end result makes a satisfying film to watch.

The musical score of Miklos Rozsa contributes to create a good atmosphere to what we are watching, also greatly helped by the black and white cinematography by Victor Milner. Robert Rossen, a man who went to direct his own films, wrote the screenplay.

We are given a story about an young woman who lives under the ironclad rule of a domineering aunt. Martha finds in Sam, a kindred spirit, who loves her. She wants to escape with him in order to get away from this tyrant. Things get complicated with Martha being nabbed from the train that is going to take her away and she is brought back to the hated house. The nasty storm blowing over Iversville cuts the electricity. Martha has a confrontation with her aunt, and things take an ironic twist. Mr. O'Neil, the tutor, makes sure he and his son will be well provided in exchange for their silence.

The action changes after that. It's now eighteen years later. We see Sam as he is driving near Iversville and he suffers an accident because he is not looking. Coming back to Iversville brings back memories. He goes to the house where he lived and meets the sweet and mysterious Toni Marachek, who is leaving town. By this time, all in town are alerted to Sam's return and things begin to unravel.

Walter O'Neil, the town's D.A. has married Martha. He has become an alcoholic. Martha has done wonders with the steelworks she inherited and is obviously a wealthy woman. She immediately figures with Walter that Sam's return has a different meaning; he has come back to implicate them in the death of Mrs. Ivers, and they must deal with him. Both Martha and Walter are suffering the guilt associated with their naming an innocent man, who has been executed because of them. The film has a good resolution, as crime doesn't pay, or so, this is the clear message that comes across. Sam, at the end, is seen driving away from the town with Toni.

Barbara Stanwyck makes a creation of Martha Ivers. This was a role tailor-made for her. She has a great time playing this woman, who doesn't know what she wants, whether to stay with the weakling Walter, or to try to get back to Sam. Van Heflin, as Sam is splendid. He had played opposite to Ms. Stanwyck and in this film, both do some interesting work, under the guidance of Mr. Milestone.

Kirk Douglas was making his film debut and he made a splash with his take on the weak Walter O'Neil. Lizabeth Scott was also a revelation, who is totally convincing with her Toni Marachek. Judith Anderson has only a couple of scenes at the beginning of the movie, but she is effective as the domineering Mrs. Ivers.

Although we had seen the film before, we still watch it whenever it shows on cable. Thanks to Lewis Milestone's direction the movie will live forever.

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