When young Danny Lambert runs away from camp in south-central Colorado, he becomes the object of a park-wide-search by his wealthy father Robertson Lambert. He is found by Jerry Barker and ... See full summary »
Howard W. Koch
Mild mannered Jack Dawn has been secretly working as an accountant for the mob. He, his Puerto Rican wife Jeri, his teen-aged daughter Joan and his mother-in-law, all who were planning on ... See full summary »
The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
A thief (Duke Anderson) just released from ten years in jail, takes up with his old girlfriend (Ingrid) in her posh apartment. He makes plans to rob the entire building. What he doesn't ... See full summary »
After the funeral of her brother-in-law, Edith Phillips learns that Margaret de Lorca, her rich twin sister, had tricked her way into marriage with the man she also loved. So she kills Margaret and assumes her identity and life-style. However, her life becomes complicated by her late sister's sleazy boyfriend, Tony Collins and Sgt. Jim Hobbson, a Los Angeles detective who loved the "dead" Edith. Written by
As Karl Malden's police sergeant character leaves his desk, he calls for a colleague named "Sekulovich" to toss him his hat. Malden's birth name is, in fact, Sekulovich. See more »
Edith arrives at her apartment above the cocktail lounge in broad daylight, but when her boyfriend Jim comes to visit less than fifteen minutes later it is dark outside. See more »
Too bad I called and woke you last night. This might not have happened.
It wouldn't have mattered when you called. I've gotten so I'm afraid to turn around for fear of what will happen next.
Oh, just one of those rough patches, Margaret. Things will look better in a few months.
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Bette Davis plays twin sisters, one glamorous, the other homely, in this tale of deception, betrayal, and murder. What makes the story so fascinating is its delicious irony, as the homely sister, Edith, becomes ever more ensnared in her own tangled web.
The story is marred slightly by some obvious contrivances and plot holes. But it has lots of twists and turns. And Bette Davis, with her memorable voice, her gestures, and those Bette Davis eyes renders the Edith character engaging, as she realizes something important that she had not foreseen, and then makes an effort not to be found out. It's all about the internal tension of faking a false identity.
Much of the plot is consumed in detail, as we watch Edith squirm and fret when confronted with small tasks like switching clothes with a corpse, faking a signature, or determining the combination to a wall safe. These action details are somewhat tedious. But they give Davis lots of opportunity to act.
The film's B&W cinematography is fine. The split screen technology wherein both sisters appear together in the same scene is rather self-conscious, but was quite advanced for its time. Rear screen projection is another technique that is used, but seems primitive by today's technical standards. The film's lighting is quite good.
The film gets off to a really good start with a snazzy, and very Hitchcockian, title sequence accompanied by Andre Previn's excellent original score. The film's supporting cast includes Karl Malden, Estelle Winwood, and Jean Hagen. But, though they are all credible in their roles, this film belongs to Bette Davis. It's her show. And a viewer's response to the film will hinge largely on their impression of Bette Davis and her ability to play two roles. Personally, I think she did a splendid job.
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