15 user 7 critic

Woman in Hiding (1950)

Approved | | Crime, Drama, Film-Noir | 22 February 1950 (USA)
After her father is killed in an accident, mill heiress Deborah Chandler marries the plant manager, Selden Clark, but his motives are suspicious.



(screenplay), (adaptation) | 1 more credit »


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Complete credited cast:
Patricia Monahan
Fat Salesman
Salesman with Drum
Rest of cast listed alphabetically:
Train Conductor (scenes deleted)


Deborah Chandler's rejected suitor, Selden Clark, manages the factory of her father, who dies: did he fall or was he pushed? But charming Clark manages to win her over and marry her. On the honeymoon, Clark's former girl Patricia intervenes and opens Deborah's eyes, alas too late. Now Clark tries to kill Deborah. Believed dead by all but Clark, she flees. But drifter Keith Ramsey recognizes and follows her. Can she trust him? Can he believe her? Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis


Approved | See all certifications »




Release Date:

22 February 1950 (USA)  »

Also Known As:

L'araignée  »

Company Credits

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Technical Specs


Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?


Michael Kraike: The film's producer appears as "end man reading newspaper". See more »


The pattern of the wet spots on Stephen McNally's suit change. See more »


Selden Clark: [as they are driving to their honeymoon cabin] Things at the mill being what they are, this isn't gointg to be the fanciest honeymoon in the world.
Deborah Chandler Clark: Don't worry, Darling; I take my honeymoons as they come.
[She giggles]
See more »

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User Reviews

One Note Onslaught of Jangled Nerves and Jitters
10 August 2012 | by See all my reviews

This film is wound a bit too tight for its own good. Mostly because of the incredibly intense performance from Ida Lupino who manages to almost melt the screen. It is a relentless one-note onslaught of jangled nerves and jitters.

What's needed here is a contrasting scene or two to let things settle a little. There are some good moments but the anxious anxiety quickly destroys the drama and we are off to the races once again. The hotel convention scene is almost unbearable in its loud and ridiculous rendering of a confrontational setup that is suppose to be suspenseful and claustrophobic.

The ending looks ominous enough and the factory setting has a film-noir feel that is missing in most of the film and the subtlety of shadows would have been a welcome relief from the persistent, pulsating, and predictable performances.

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