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Thelma Jordon is in love with a jewel thief, Tony Laredo, and he persuades her to go live with her rich aunt, and steal her jewels. During the robbery, she shoots her formerly-rich aunt, but makes it look like an outside job. Cleve Marshall, an assistant district attorney, is assigned the case, promptly falls in love with Thelma (and she with him), and he maneuvers and presents the state's case against her in such a manner that she wins an acquittal. And, then, Tony shows up. And nothing, from this point, works out favorable for THelma, Clive or Tony. Written by
Les Adams <firstname.lastname@example.org>
When I was a kid and local television showed movies from the forties and fifties, there were two I always confused. Both always intrigued me but eventually lost my interest. One was "The Strange Love of Martha Ivers." This was the other.
I guess their polysyllabic titles made them seem similar. So many noirs have short, terse titles.
This has a promising plot and its director did some fine work elsewhere. But "Thelma Jordon" (an alternate title) seems to me to move very slowly.
The supporting players are OK but they don't have the zing that's required of this sort of endeavor. And here is the main problem, in my view: There is no real chemistry between Barbara Stanwyck and Wendell Corey.
She was marvelous in so many movies, spanning the decades. Of course, this invites comparison to "Double Indemnity." There, we really believe that Fred MacMurray is crazy about her and that she is at least doing her best to draw him in. Those two sizzle. These two don't quite fizzle but they dawdle.
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