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Sleep, My Love (1948)

Approved | | Drama, Film-Noir, Mystery | 27 January 1948 (USA)
Alison Courtland wakes up in the middle of the night on board a train, but she cannot remember how she got there. Danger and suspense ensue.

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

Complete credited cast:
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Queenie Smith ...
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Fred Nurney ...
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Marya Marco ...
Jeannie Lin (as Maria San Marco)
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Helen, the Maid
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Daphne
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Storyline

Alison Courtland wakes up in the middle of the night on board a train, but she cannot remember how she got there. Danger and suspense ensue. Written by Chris Yanda <cyanda@gpu.srv.ualberta.ca>

Plot Summary | Add Synopsis

Taglines:

...the most terrifying words a man ever whispered to a woman!


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Approved | See all certifications »
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Release Date:

27 January 1948 (USA)  »

Also Known As:

Schlingen der Angst  »

Box Office

Gross:

$1,800,000 (USA)
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Technical Specs

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Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

"The Screen Guild Theater" broadcast a 30 minute radio adaptation of the movie on April 19, 1948 with Claudette Colbert reprising her film role. See more »

Goofs

When Alison is ready to fly back from Boston, the plane on the runway is a United Airlines flight. But when the plane begins to taxi, it now has an Eastern Airlines logo. See more »

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User Reviews

 
A crack at "Gaslight" by that wily Dane Douglas Sirk
20 January 2002 | by (Western New York) – See all my reviews

Sleep, My Love is Douglas Sirk's crack at Gaslight. Dabbling in drugs and Mesmerism, Don Ameche rigs up psychotic "episodes" starring his wife, Claudette Colbert, so he can inherit her money. Befriended by Robert Cummings during one of these arranged "fugue" states, she unwittingly enlists an ally whose affections, and suspicions, grow. (The film takes on inadvertent Charlie Chan overtones when Cummings goes sleuthing with his blood-brother Keye Luke, who often played the Honolulu detective's eldest offspring.)

Unlike Cukor's claustrophobic Gaslight, with Ingrid Bergman and Charles Boyer, Sleep, My Love is less psychologically nuanced and more plot-driven. It benefits from Hazel Brooks, delivering an icily stylized vamp turn as The Other Woman; she appeared in one other noir, Body and Soul, during her disappointing brief career. George Couloris (the guardian in Citizen Kane) adds color as a confederate of Ameche's, while Raymond Burr is wasted as a minion of the law.

That leaves the three principals as well as some problems. The amicable Ameche can't summon up the cold, controlling menace that Boyer spread through Gaslight; his adversary, the equally amicable Cummings, succumbs to terminal blandness. Colbert is more problematic. Unlike the languorous, instinctive Bergman, she made her name in part due to her quick wits; you can't buy her as a submissive wifey who hasn't cottoned on to her husband's philandering -- at the very least -- without having it spelled out to her by Cummings, whose acumen seems as low-wattage as his star power. (On the other hand, she was to find herself in a similar pickle the next year in The Secret Fury.) Sirk's direction here, as in Lured, lacks the distinctiveness he showed in his other noir, Shockproof, and was to develop lushly in the haut-fifties melodramas like Written on the Wind for which he is justly renowned.


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