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Nora Prentiss (1947)

Approved | | Drama, Film-Noir | 22 February 1947 (USA)
Quiet, organised Dr Talbot meets nightclub singer Nora Prentiss when she is slightly hurt in a street accident. Despite her misgivings they become heavily involved and Talbot finds he is ... See full summary »

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(story), (story) | 1 more credit »
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Cast

Cast overview, first billed only:
...
...
...
...
Phil Dinardo, Cafe Owner
...
Lucy Talbot
John Ridgely ...
Walter Bailey, Heart Patient
...
Gregory Talbot
...
Bonita 'Bunny' Talbot
Helen Brown ...
Miss Judson, Talbot's Nurse
...
Fleming, Talbot's Lawyer
...
San Francisco Homicide Lieutenant
...
District Attorney
...
NYC Emergency Room doctor
...
Truck Driver who Hits Nora
Clifton Young ...
Policeman arresting Truck Driver
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Storyline

Quiet, organised Dr Talbot meets nightclub singer Nora Prentiss when she is slightly hurt in a street accident. Despite her misgivings they become heavily involved and Talbot finds he is faced with the choice of leaving Nora or divorcing his wife. When a patient expires in his office, a third option seems to present itself. Written by Jeremy Perkins <jwp@aber.ac.uk>

Plot Summary | Add Synopsis

Taglines:

Loving her once is once to often! See more »

Genres:

Drama | Film-Noir

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

22 February 1947 (USA)  »

Also Known As:

The Sentence  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Sheilah Graham reported that Ann Sheridan had an infection in one ear during production, and during the final shots of the film, could only be photographed from one side. See more »

Goofs

When Nora and Talbot are driving across the bridge, near the end of the scene, cars are suddenly passing them on the wrong side going the other direction, and a sign for Old Gold cigarettes in the background is reversed, revealing the rear projection screen images have been flipped. See more »

Quotes

Nora Prentiss: [driver and cop looking at her legs] I've been examined already!
See more »

Connections

Featured in Okay for Sound (1946) See more »

Soundtracks

Deep in a Dream
(uncredited)
Music by Jimmy Van Heusen
Played when Nora introduces Dinardo to Talbot
See more »

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User Reviews

 
Not exactly film noir, but excellent thriller
28 March 2006 | by (Van Buren, Arkansas) – See all my reviews

Though labeled a film noir drama, this film doesn't really qualify for that genre. For one thing, the femme fatale, Nora Prentiss, is not really a femme fatale. She is a thoughtful, caring woman, who truly loves the good Doctor Talbot and earnestly tries to do what is best for him. She is played to perfection by the wonderful actress Ann Sheridan. Though Talbot loves her too, it is a more selfish, possessive kind. The one who sincerely loves her is her manager, Phil Dinardo, played with knowing skill by Robert Alda, but Nora does not return his love. He is more of a helpful long-time friend who is always there for her, even if she usually does not reciprocate.

Unfortunately, two of the main parts are given rather perfunctory readings by two ho-hum actors of the period, Kent Smith as Dr. Talbot and Bruce Bennett as his partner, Dr. Merriam. Too bad more capable Thespians were not assigned those roles, especially the key one of Dr. Talbot. Rosemary DeCamp is excellent in her cold hearted portrayal of the good doctor's nondescript wife. The viewer wonders how Dr. Talbot has tolerated her for all those years.

The story is exceptional, very complex yet realistic. Most of us have had one little event, at the time seemingly insignificant, drastically alter our workaday lives, sometimes for the good, other times for the bad. In this film it is an accident that occurs right in front of Dr. Talbot. Being a physician, he rushes to the aid of a pretty young nightclub singer, has her taken to his office, and proceeds to treat her. From that time on, the entire fabric of his life is changed. What twists and turns until the denouement! Director Vincent Sherman permits no cop out at the end.

This is one of those pictures where everything counts, including the music and the photography, to accentuate the main theme. Listen to the music and to the lyrics of the songs Nora Prentiss sings, in particular "Who Cares What People Say?" Cinematographer James Wong Howe blends San Francisco photography and crisp black and white interior shots into the story settings to emphasize the mood and the importance of a particular scene. Note for example how what look to be bars on Nora Prentiss' sweater in the lodge sequence indicate the happiness the two lovers are enjoying may be short lived.

The title is not a good one. Automatically one thinks of "Nora Prentiss" as a chick flick. It is not. There is little melodrama and not much sentiment. It is brash and harsh most of the way.


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