Journalist Steve O'Malley wants to write a biography of a national hero who died when his car ran off a bridge. Steve receives conflicting reports and tales that make him question what the truth about the hero is.
Barbara Beaurevel lives with her aunt and cousin in New Orleans in the late 1800's. In love with Mark Lucas, a research doctor at Tulane University, her plans to marry him are thwarted. ... See full summary »
"The Screen Guild Theater" broadcast a 30 minute radio adaptation of the movie on May 5, 1949 with Robert Taylor reprising his film role. See more »
Jayne Meadows tells Katherine Hepburn that Michael (Robert Mitchum) is not handsome. How can she say such a thing about one of the sexiest and handsomest leading men Hollywood has ever produced? Ridiculous! What were the editors thinking? See more »
Routinely very very good...an odd mix of characters, but it gets better and better
Melodrama with Katherine Hepburn instead of Bette Davis or Joan Crawford?
Yes. And it works, though differently. Hepburn rules the movie, for sure, and she covers some range from sweet daughter of a scientist to a rich man's wife losing her innocence to someone who rises up on her own two feet. She's still the classy (or stiff) Hepburn (depending who you ask). I like her, and I liked her in this film a lot.
The plot uses a whole range of clichés but uses them well. The slight twists to what you expect are never shocking, but they keep you guessing. The second big star, seemingly, is Robert Mitchum, but if you are a fan of his, don't see the movie for his role. It's exceedingly minor. A very strange contract arrangement on that one. When he is there, it's undramatic, though he's in command, of course. The other male lead, Robert Taylor, is his usual reasonable, appropriate self--carefully chosen words to avoid saying a little starchy and ordinaire. One bit part is predictably colorful, Marjorie Main with her earthy comebacks.
Director Vincente Minnelli is in good form here, actually, and if the movie seems routine, it's the story that holds it back. He has some great photography behind it all (Karl Freund), and the score is unusually effective and beautiful (Herbert Stothart). I wouldn't call it a film noir, though it has shadings of the style and it's from that post war dark period. Instead, it's a noir melodrama. Worth seeing, absolutely, if you like those kinds of films.
11 of 12 people found this review helpful.
Was this review helpful to you?