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
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 »
Among the terrified refugees jamming the roads out of Paris in 1940 are Kitty de Mornay, a rich American divorced from her French husband, and her companion Emmyline (Emmy) Quayle. A German... See full summary »
A WWII tale of romance that begins during New Orlean's "Mardi Gras" celebration when a soldier and a girl meet and fall in love. He asks her to marry him but she decides to wait until his ... See full summary »
Edgar G. Ulmer
Emily Blair is rich and deaf. Doctor Vance, who grew up poor in Blairtown, is working on a serum to cure deafness which he tries on Emily. It doesn't work. Her sister is carrying on an ... See full summary »
Unscrupulous showgirl Flaxy Martin involves young attorney Walter Colby with mobster Hap Richie. A girl is murdered, with the evidence pointing to Flaxy, and Colby takes the rap and gets a ... See full summary »
Richard L. Bare
A wealthy lawyer begins to suspect that his inattention to his wife has resulted in her taking on a lover. It turns out that he's right, but her lover also has a lover--and when HIS ... See full summary »
Dr. Michael Lewis treats Jane, a mysterious woman claiming to be a British secret agent on the run from German spies. Ultimately convinced, Michael helps Jane escape and with her attempts ... See full summary »
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.
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