Jenny Marsh, still dangerously attractive after 5 years in prison for killing a man in defense of her shady lover Harry, clashes at first with parole officer Griff Marat, who's determined ...
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A man seeks revenge but will he destroy himself in the process? After a long jail term for a crime he did not commit, a man is torn between revenge (which will probably destroy him) or ... See full summary »
A serial killer in London is murdering young women whom he meets through the personal columns of newspapers; he announces each of his murders to the police by sending them a cryptic poem. ... See full summary »
Convicted murderess Valerie Carns (Ann Blyth) is being transported to Norwich to be executed when a flood strands her and her guards at a convent hospital. Nurse Sister Mary (Claudette ... See full summary »
Jenny Marsh, still dangerously attractive after 5 years in prison for killing a man in defense of her shady lover Harry, clashes at first with parole officer Griff Marat, who's determined to make Jenny go straight. For lack of other prospects Griff finds Jenny a job in his own home, and his objectivity about her wavers, while Jenny continues to meet Harry secretly. However, when Jenny transfers her affections from Harry to Griff, the situation becomes even more dangerous... Written by
Rod Crawford <firstname.lastname@example.org>
Director Douglas Sirk signed to make this film on the basis of Sam Fuller's original screenplay, which was called "The Lovers" and ended in a shoot-out. Co-producer Helen Deutsch rewrote the script and added a cop-out ending Sirk disliked. Sirk later said Deutsch's script changes ruined the film by depriving it of the sense of doom in Fuller's original story. See more »
Following the opening credits the camera pans onto the kerb edge of the road which reads HOLLYWOOD BLVD. See more »
San Fuller and the Studio System...Mishandling by the Meddlers
It's difficult to believe, but even by this Early Date of 1949 the Cynicism and Doom Laden Tropes of Film-Noir were becoming unacceptable for the Safe and Conservative Studio Heads. Sam Fuller's Script was stripped of its edginess and coated with a sweetness Ending. Neither Fuller nor Director Douglas Sirk were pleased and voiced Their disapproval loudly.
But the Power of Low-Rung, untested Writers and Directors was Minimal. So what remains is a Soapy Triangle with enough Artistic Insight to be passable and somewhat enjoyable, but hardly Pure Film-Noir and the impact is diluted and disappointing.
Cornel Wilde as the Parole Officer and Patricia Knight have and unexpected collision of Love's vice like grip and its ability to change People drastically. John Barangay as the Ex-Lover is Bland and really doesn't do much to attract audiences to His vile villainy but is good enough.
Wilde, not the best Actor in the World does have a Physical Presence and was Drop Dead Handsome. Knight was as Stiff as They Come and had a limited Career and tries mightily here but was betrayed by Her Talent and got by on Her slightly Off-Beat Beauty.
Overall, Worth a Watch for Sirk and Fuller, but must be Footnoted as mishandled by Studio Interference. Film-Noir Fans and Fuller Cultists might be disappointed. A Film-Noir only in a Wide Definition of the Genre.
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