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Twist of Fate (1954)
"Beautiful Stranger" (original title)

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Ratings: 5.7/10 from 137 users  
Reviews: 6 user | 1 critic

Ginger Rogers, an actress living with Stanley Baker on the Riveria, becomes involved with Jacques Bergerac and learns he is a dangerous criminal.



(original story), , 2 more credits »
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Title: Twist of Fate (1954)

Twist of Fate (1954) on IMDb 5.7/10

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Complete credited cast:
'Johnny' Victor
Emil Landosh
Louis Galt
Pierre Clemont
Margaret Rawlings ...
Marie Galt
Eddie Byrne ...
Coral Browne ...
Lisa Gastoni ...
Lily Kann ...
Ferdy Mayne ...
Police Chief
Keith Pyott ...


Ginger Rogers is in love with an international businessman, Stanley Baker, who is actually the head of a syndicate that mints illegal coins for the Continental market. But she soon learns that Baker has been deceiving her and has no intentions of divorcing his wife. So she meets Jacques Bergerac, a potter, and falls for him (onscreen and off). Into this little slice of life comes Herbert Lom, a confidence man, and he steals a bracelet that Baker had given Rogers and uses it to pay a debt. Enter a twist-of-fate (the US title that describes the film a lot better than the UK title, which is not unusual for films going from America to England but seldon vice-versa), and it ends up in Baker's hands. Strained creditabilty aside since many, many films depend on beating the coincidental odds, Baker assumes that Lom is Rogers' lover, and this sin't a good assumption on his part sinve Lom kills him and then makes it appear as if Rogers and Bergerac did the deed. Written by Les Adams <>

Plot Summary | Add Synopsis

Plot Keywords:

actress | criminal


Shock After Shock!


Drama | Mystery


Approved | See all certifications »




Release Date:

5 November 1954 (USA)  »

Also Known As:

Twist of Fate  »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


Referenced in What's My Line?: Episode dated 21 November 1954 (1954) See more »


Happy Birthday
Written by Mildred J. Hill and Patty S. Hill
Sung in French at Pierre's
See more »

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User Reviews

A stinker but an educational one.
26 July 2003 | by (New York) – See all my reviews

British filmmakers faced what they thought was a problem. They spoke English (of a sort) which meant that they should be able to make some money in the US . This was necessary because UK returns weren't enough to make really big money. The problem, as they saw it then, was that they needed some star appeal for the Americans. Even going back to the twenties they would import American film star to headline the production and hope that people would go to the theaters expecting a first class Hollywood picture and buy a ticket before they found out it was a cheapo British movie by which time it would be too late.

Their big mistake is importing a 'star' with no box office appeal, or more, likely one who was over the hill, a bit passe, the news of which hadn't caught up in London. Of course it was the alternative that worked, (such as Ealing comedies) - unknown but superb actors in a well written and directed film was more successful and wound up with the unknown star going to Hollywood- e.g. James Mason, Maureen O'Hara, Richard Harris, Richard Burton ad. infinitum.

Along with the star it was common practice to import a director and a cameraman. Many of the best British cameramen of a generation started as assistants to some Hollywood 'old pro.' The British had an inferiority complex about their own directors.

For this film they imported Ginger Rogers and David Miller. Rogers was 40+ and her career was winding down. She made a picture with Fred Astaire THE BARKLEYS OF Broadway in '49 and MONKEY BUSINESS with Howard Hawks and Cary Grant in '52 but it was the co-star that everybody noticed and I don't mean the chimp (I.e. Marilyn Monroe). Miller was a superior hack, fully capable of rendering a good script like SATURDAY'S HERO but not able to save a turgid one like BACK STREET.

The script for BEAUTIFUL STRANGER (TWIST OF FATE) is a derivative rehash of what was mildly popular as a second feature a few years before. In other words - a noir. The dialogue seems to be the type where one expects an actor to turn to the camera and remark 'We're all in a movie, aren't we?' The real potential star of the picture, Stanley Baker, is miscast and badly used as the heavy of the piece, the fifteen year age difference between Rogers and him poorly covered up with grey streaks in his hair. Herbert Lom is a thief and a foreigner and crazy and doing none of them well. Jacques Bergerac was the nominal hero because he was the best looking etc. This was his film debut and was Ginger Rogers fourth husband at the time. Bosco, I believe, is the Italian word for wood and a piece of wood could have done a better acting job. I'm sure he must have had some other talents.

To make matters worse the film was shot on location on the French Riviera. Not a classic noir location. Once away from the Hollywood Studio system Miller seems unable to stage even the simplest fight or action sequence. Never has the Riviera looked duller (the film is shot without any inspiration or colour). I'm not too sure if it wasn't shot in Devon. A stinker but an educational one.

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