6.3/10
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7 user 1 critic

Hell Is Sold Out (1951)

| Drama | 1952 (USA)
A book is sent to the publishers under the name of "Danges", a popular writer, long believed to be dead. The real Danges turns up and meets the new authoress using his name.

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, (novel) | 2 more credits »
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Cast

Cast overview, first billed only:
...
Valerie Martin
...
Dominic Danges
...
Pierre Bonnet
...
Mme. Louise Menstrier
...
François
Olaf Pooley ...
Cheri, male secretary
...
Louis, the proprietor
...
Arlette de Balzamann
Joan Young ...
Mrs. Gertrude de Montfort Cole
Aletha Orr ...
Mrs. Eunice Weinhardt (as Althea Orr)
Virginia Bedard ...
Mrs. Irma Reinhardt
...
John Penrose ...
Repatriation Officer
...
Swedish Consulate Clerk
...
Cafe Singer
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Storyline

A book is sent to the publishers under the name of "Danges", a popular writer, long believed to be dead. The real Danges turns up and meets the new authoress using his name. Written by Steve Crook <steve@brainstorm.co.uk>

Plot Summary | Add Synopsis

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based on novel | See All (1) »

Genres:

Drama

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Details

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Language:

Release Date:

1952 (USA)  »

Also Known As:

En trekant i Paris  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The title refers to one of the novels that the heroine has written which she passes off as being written by her late husband. See more »

Soundtracks

Masquerade
Lyrics by Sonny Miller
Music by Hans May (uncredited)
Sung by Mai Zetterling (uncredited)
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User Reviews

 
postwar problems
16 April 2008 | by See all my reviews

One of those films that dealt - perhaps neither deliberately nor directly - with sorting out the muddle of war, and so a very distant relation of The Return of Martin Guerre as much as The Captive Heart. It was Lom's attempt at playing a romantic hero, and it didn't come off; he's too saturnine and grumpy. But artistically this has an upside, as it leaves us unsure whether the heroine will go for him or the more puppy-like, and more British, Attenborough. Alas, it all needs the Lubitsch touch, or at least the Michael Powell one; instead, it's wobbly in tone, shuffling between romance, comedy, farce and the odd echo of the war (Attenborough has blackouts caused by shrapnel in his head), along with some lame satire of Americans. It isn't bad - and it looks great, with high-contrast mono photography - but it isn't very good either.


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