When her husband John has a heart attack while out in a rowboat on the lake, Louise Haloran throws his body overboard and later tells the family that he has left on an urgent business trip.... See full summary »
Francis Ford Coppola
A newlywed couple sit in a train. The husband receives a frantic telegram. He gets off at a station to make a phone call, the train pulls away without him on it, and that's the last his ... See full summary »
Roy Del Ruth
Lon Chaney Jr.
Two deranged brothers, who are under the domineering influence of their crazed mother, kidnap young girls and keep them captive in chains in their basement, where they subject them to depraved "games" that often end in torture and murder.
As the narrator invites us to explore the horrors of an insane mind, a young woman wakes from a nightmare in a cheap hotel room. We follow her through the skid-row night and encounters with an abusive husband; a wino; a pimp and the rich man he panders for; a flashback to her traumatic childhood; violence; pursuit through dark streets; dementia. Filmed in film-noir style throughout; only the narrator speaks. Written by
Rod Crawford <firstname.lastname@example.org>
The flower girl was played by Jebbie VeSota. She was married to Bruno VeSota who played the "rich man" and was also the associate producer of this film. See more »
Nowhere to run. Nowhere to hide. If you could only wipe out the curse of your guilty past. If you could only become somebody else, before it's too late. Escape... into a world of *your* kind of people.
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This movie (originally 1953, I believe) is approachable on so many levels, it is difficult to say where to begin. We could start with the acting - Adrienne Barrett (whoever she is) is perfectly cast as the troubled, sinister, smirking, sexy anti-heroine. We could then examine the style - the mix of surrealism, expressionism, and film noir. We could then comment on the atmosphere - conjured through bleak-looking streets and unnerving music. Then there are the simple images - shadows growing and shrinking, gaunt faces, sharp contrasts between lights and darks. We might take a Freudian approach - the dysfunctional parents, the father imagery, the sexual symbols (cigars, no less!). There is also the Beat culture interest in the excellent jazz-band scene. There are also the intriguing comparisons one could make between the "silent" version and the narrated one.
As a horror movie in-itself, it may appear somewhat cheesy and overstated, but it clearly does not take itself too seriously, and you shouldn't either. Compared to other horror films I give it an 8, but due to its uncommon critical and historical appeal, I rate it overall a 9. Truly a unique achievement.
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