A dazed woman walks the streets of Los Angeles looking for a man named David. After collapsing in a diner, she's taken to the psychiatric ward of a nearby hospital. Flashbacks reveal her ... See full summary »
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A dazed woman walks the streets of Los Angeles looking for a man named David. After collapsing in a diner, she's taken to the psychiatric ward of a nearby hospital. Flashbacks reveal her obsession for David as a result of borderline personality disorder which ultimately leads to murder. Written by
Daniel Bubbeo <firstname.lastname@example.org>
The hospital that the ambulance pulls into appears to be the Los Angeles County, USC Medical Center at 1200 N. State St., Los Angeles, CA.. See more »
When Louise and Carol are at the piano recital, David and his friends can be seen in the distant background taking their seats. When it cuts to a medium shot of David, they are taking their seats for a second time. See more »
Just what does Van Heflin's David have the makes Joan Crawford's Louise go literally mad for him?
Doesn't appear to be that much in the looks department. Perhaps just that special touch that signals, "either you've got it or you haven't."
Whatever the case, Louise pleads, cajoles, rants and raves for David the entire film. What does our David do?--merely tell Louise the truth: that he's simply not in love with her.
Granted, David's rather flippant, self-absorbed and bored, but that's his prerogative. Instead of accepting this and moving on with her life, Louise insists on minding David's old business and clinging to bygone days.
All this "to-do," when a simple scan of a Dale Carnegie text might have solved the problem.
Louise does have her supporters: young stepdaughter Carol and aging hubbie Dean do what they can to bolster Louise's confidence. Since Geraldine Brooks and Raymond Massey portray these respective roles, there's sure to be strong convictions expressed.
Made just two years after her Oscar-winning turn in "Mildred Pierce," Crawford is in her mature mettle here. Although the same title was used for a Crawford film 16 years earlier, the similarity is in name only.
"Possessed" allows Joan to suffer royally and she does, pulling out all the schizophrenic stops to slam this one home. Since no one reels better than Crawford, it's an engaging performance in an engrossing film.
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