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The Woman in White (1948)

Approved | | Drama, Mystery, Romance | 15 May 1948 (USA)
A young painter stumbles upon an assortment of odd characters at an English estate where he has been hired to give art lessons to beautiful Laura Fairlie. Among them are Anne Catherick, a ... See full summary »



(novel), (screenplay)


Airs Sun. Oct. 30, 8:00 AM on TCM

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A young painter stumbles upon an assortment of odd characters at an English estate where he has been hired to give art lessons to beautiful Laura Fairlie. Among them are Anne Catherick, a strange young woman dressed in white whom he meets in the forest and who bears a striking resemblance to Laura; cunning Count Fosco, who hopes to obtain an inheritance for nobleman Sir Percival Glyde, whom he plans to have Laura marry; Mr. Fairlie, a hypochondriac who can't stand to have anyone make the slightest noise; and eccentric Countess Fosco who has her own dark secret. The artist also finds himself drawn to Marion Halcomb, a distant relation to Laura whom the Count also has plans for. Written by Daniel Bubbeo <dbubbeo@cmp.com>

Plot Summary | Add Synopsis


She hid her black secret under a cloak of white! See more »


Approved | See all certifications »




Release Date:

15 May 1948 (USA)  »

Also Known As:

A Mulher de Branco  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


Filmed in 1946, but not released until 1948. See more »


In the scene of Ann Catherick's death, when she - the fair-haired Eleanor Parker - falls at the foot of the bed, an almost smiling, unmistakably dark-haired woman is clearly visible in the bed, where Laura Fairlie (Eleanor Parker, in a dual role) is supposedly bedridden. A moment later, Eleanor Parker has returned to her place in the bed. See more »


Version of The Woman in White (1929) See more »

Frequently Asked Questions

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User Reviews

Sydney Greenstreet's Performance Carries a Lot of Weight!
13 January 2008 | by (NC) – See all my reviews

Gothic, eerie, studio vision of what a Wilkie Collins novel should and would look like, The Woman in White manages to successfully transcend the written page and give the viewer a good, old-fashioned mystery with some excellent performances and some crafty direction. Though the trimming/cutting/changing of the novel is awkward at times(sometimes even downright blunt), the script does manage to convey the basic premise of the story about a mysterious woman shrouded at night who asks a walking stranger for the time and then tells him that she is being hounded by forces she cannot explain. The walking stranger, an artist on his way to a new job, is then introduced to a household of unique personalities and a woman who could be the exact double of the woman he met on the road. This is a Victorian mystery all the way and the script is heavily aided by the skill of Godfrey the director. Swirling fogs, moonlit nights, and the ever-engaging, ever-looming, ever-massive presence of one Sydney Greenstreet make it more than what is could and would have been without them. Greenstreet gives a wonderfully droll, pernicious, charming portrayal of Alessandro Fosco, the primary villain in the piece. His Fosco is witty and yet can make a wicked look faster than any actor I have seen. Greenstreet and his agile bulk glide in oily joy from one scene of menace to another. Watching him smugly and contemptuously speak condescendingly to each and every character was great fun. Greenstreet is ably aided by some other equally memorable turns: Agnes Moorehead in a brief role as his wife, beautiful Alexis Smith as Marian, Eleanor Parker in dual roles, John Emery as a British blighter in the Terry-Thomas tradition, and John Abbott creating a minor comedic gem as Frederick Fairlie with all his "problems." Gig Young is the male lead and even though he probably is miscast he does do a decent enough job and does not detract in any way. The Woman in White is not a great film but a very good film with some wonderful atmosphere, skilled direction, and the indomitable Sydney Greenstreet. Should you, could you, would you need more than that? In the words of Greenstreet himself, "Ha, ha, Hmm - I should think not. Most definitely not. Ha. Hmm."

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