A Bank officer discovers a flaw in the U.S. extradition treaty with Brazil and decides to take advantage of it. On Friday, he steals a million dollars from the bank, knowing it won't be ... See full summary »
Andrew L. Stone
Kay Kerrigan commits a murder and then changes her hair color, assumes a new identity and flees the country by ship. She's unaware that she's being followed by Sam Wye, a skirt chasing ... See full summary »
This melodrama starring Robert Taylor and Burl Ives was directed by Henry Koster. An American business executive working in England wants to marry European refugee Elizabeth Mueller, but he... See full summary »
Alec Graham is sentenced to death for the murder of his girlfriend Jennie, with whom he spent a weekend at the English country home of the parents of his friend Brian Stanford. Alec's ... See full summary »
Hard-hitting news editor Jim Branch falls for high-society type Sharon Norwood but can't get to first base as he continually makes use of her knowledge of the rich and famous to try to ... See full summary »
Robert Z. Leonard
Enviromentalist Anne Richards goes to Washington D. C. to fight for getting legislation passed to save the last remaining sanctuary of the almost-extinct California Condor. She enlists the ... See full summary »
Viperish Francine Huber seduces visiting salesman Sam Crane. Sam later finds out that Francine is married to a business associate of his and decides to have no more to do with her. Francine... See full summary »
Two days before Marian and Ned are to be married, he is killed by the husband of a woman he was seeing on the side. Marian becomes withdrawn and they send her to the Canadian Rockies for ... See full summary »
Alfred E. Green,
Constance Bennett's career seemed to be on the skids by the 1940s, which saw her appearing in B-movies and supporting roles. By 1948, she was producing her own films (she also produced Paris Underground in 1945). Both of these films are well-made late career entries for a fading star.
In Smart Woman, Bennett is supported by a strong cast, which includes Brian Aherne and Barry Sullivan, plus a host of reliable supporting players such as Otto Kruger (whom I remember as the older man opposite Joan Crawford in Chained) and Selena Royle (also opposite Joan Crawford in Damned Don't Cry).
The script is intelligent if not a roaring success. The chemistry between Bennett and her co-stars does not run particularly hot, but Bennett does get a chance to wear some gorgeous Adrian gowns and prove she is still a good-looking woman at the (then) advanced age of 43. The photography is polished and Bennett seems to be lit and photographed very, very carefully. There are even some noirish camera angles and shadow play. Bennett's performance is strong and does not appear dated with any evidence of her days as a silent film star. Her style seems contemporary, although Bennett is no longer the hypnotic beauty of her precode heyday.
As Bennett's second production effort, it is a solid vehicle for her, and an interesting film overall, but it was just not powerful enough to give her career any boost. After this, it was all supporting roles. But the film can easily be recommended as a glossy, well-made women's picture. If the film had a low budget, it's impossible to tell.
17 of 19 people found this review helpful.
Was this review helpful to you?