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The Sign of the Ram (1948)

 -  Drama  -  3 March 1948 (USA)
6.2
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Ratings: 6.2/10 from 196 users  
Reviews: 21 user | 1 critic

The wheelchair-bound matriarch of an English family uses her handicap to cynically manipulate all those around her. She coldly destroys a daughter's relationship with a man she truly loves,... See full summary »

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Title: The Sign of the Ram (1948)

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Cast

Cast overview:
Susan Peters ...
Leah St. Aubyn
...
Mallory St. Aubyn
...
Sherida Binyon
Peggy Ann Garner ...
Christine St. Aubyn
Ron Randell ...
Dr. Simon Crowdy
...
Clara Brastock
Allene Roberts ...
Jane St. Aubyn
Ross Ford ...
Logan St. Aubyn
...
Catherine Woolton
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Storyline

The wheelchair-bound matriarch of an English family uses her handicap to cynically manipulate all those around her. She coldly destroys a daughter's relationship with a man she truly loves, and her machinations almost drive the son's fiance to suicide. As the family realizes what she is doing, she becomes even more calculating - and mentally unbalanced. Written by frankfob2@yahoo.com

Plot Summary | Plot Synopsis

Taglines:

Incredible evil!

Genres:

Drama

Certificate:

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Details

Country:

Language:

Release Date:

3 March 1948 (USA)  »

Also Known As:

Destino Cruel  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Susan Peters was on a hunting trip when her rifle accidentally discharged and she was shot. The accident resulted in her being paralyzed from the waist down. This was the only film she made after the accident. See more »

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User Reviews

 
A riveting performance, immobile save for the slithery hands
13 July 2002 | by (Western New York) – See all my reviews

From the wheelchair to which the actress was confined as the result of a hunting accident three years earlier, Susan Peters builds a controlled, subtle, expert performance that's the centerpiece of John Sturges' The Sign of the Ram. As the paralyzed young stepmother of three children living in a great Gothic pile on the Cornish coast, she conceals her frustrations under a mask of serenity (she writes mawkish poems for a London newspaper under the name Faith Hope) only to unleash them in sly, vindictive manipulation.

The wheelchair may render her immobile, but her hands, restless and expressive, are ever on the move: posturing with cigarettes and lighter, picking out waltzes on the keyboard, plying her pen, knitting and purling. They seem to have a life of their own – a slithery, reptilian life, fueled by the cold instincts of the brainstem alone.

The cast around her pulls its weight, too, in particular husband Alexander Knox, best remembered as the president in Darryl Zanuck's overblown biopic Wilson; Phyllis Thaxter as a hired secretary/companion; and Peggy Ann Garner, as an adolescent girl whose warped loyalty to Peters almost has irreversible consequences. Sturges maintains the pace, a brooding andante, while Burnett Guffey coaxes the most out of the labyrinthine house and crashing Irish Sea.

But it's Peter's movie, and her last (she died four years later). When her machinations come to light, with the fog rolling in, Sturges devises a superb final scene – a cinematic `schlussgesang,' as they called those overwrought soprano passages that rang down the curtain in German opera. She deserved nothing less.


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