Mary Rafferty comes from a poor family of steel mill workers in 19th Century Pittsburgh. Her family objects when she goes to work as a maid for the wealthy Scott family which controls the ... See full summary »
In Nazi Germany in 1936 seven men escape from a concentration camp. The camp commander puts up seven crosses and, as the Gestapo returns each escapee he is put to death on a cross. The ... See full summary »
Based on the files of the United States Department of Treasury. Commissioner Michael Barrows is an American Government Agent. On board a Coast Gaurd boat off the California coast he chases ... See full summary »
Newspaperman Bill Bradford becomes a special agent for the tax service trying to end the career of racketeer Alexander Carston. Julie Gardner is Carston's bookkeeper. Bradford enters ... See full summary »
In 1909, the beautiful but amoral British belle Ivy Lexton meets older, rich Miles Rushworth; undeterred by the prior claims of her husband Jervis and lover Roger, she goes after Miles and has no trouble fascinating him, but oddly enough he has compunctions about making love to other men's wives. The means that Ivy reluctantly adopts to resolve the problem of too many men promise disaster for all concerned. Written by
Rod Crawford <email@example.com>
"The Screen Guild Theater" broadcast a 60 minute radio adaptation of the movie on March 13, 1952 with Joan Fontaine again reprising her film role. See more »
I don't think I've been very fair to him you know.
Fair? He's held you in his arms, people point you out as his wife. I think he's just about the luckiest man in England.
Well that's sweet Roger, but we are rather forgetting that i'm married to him.
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This is one atmospheric and visually dazzling film. The ornate sets capture the mood to perfection, even if they aren't completely accurate. Kudos to the art director. Whoever designed Joan Fontaine's wardrobe also helped the mood, even if they were not historically accurate. Also praiseworthy is the cinematography, which is in stark black-and-white and makes perfect use of light and shadow. Indeed, the film's look in some ways reminds me of the later work of Josef Von Sternberg, while some of the night scenes are like a refined version of German Expressionism. If they had been supported by a great story, this could have been a classic. What they did use was a passable romantic drama which was only mildly interesting. Here, Joan Fontaine plays a Victorian Femme Fatale whose dullard husband doesn't make enough money to keep up with her spendthrift ways. She also has a lover on the side, a doctor whose possessiveness threatens to expose their affair to her husband. She thinks she's found the lavish life she wants when she meets a wealthy bachelor at a sporting event. She convinces him to hire her unemployed husband in the London office and then designs to seduce him. However, he can't bring himself to have an affair with a married woman. What's an unhappily married gold digger to do? Well, she turns Femme Fatale and schemes to get her husband and lover both out of the way, lying and manipulating in the style made familiar by Barbara Stanwick in "Double Indemnity." Interestingly, Joan Fontaine plays her as a mild, seemingly harmless woman, a performance she repeated in "Born To Be Bad" a few years later. Problem is that there are many slow parts and the interest lags, thanks to the talky script. Also hurting is the noisy musical score, which distracts from the mood and suspense. However, it's worthwhile for fans of older movies. I usually enjoyed it.
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