Julia Ross secures employment, through a rather nosy employment agency, with a wealthy widow, Mrs. Hughes, and goes to live at her house. 2 days later, she awakens - in a different house, ...
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Joseph H. Lewis
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Julia Ross secures employment, through a rather nosy employment agency, with a wealthy widow, Mrs. Hughes, and goes to live at her house. 2 days later, she awakens - in a different house, in different clothes, and with a new identity. She's told she is the daughter-in-law of Mrs. Hughes, and has suffered a nervous breakdown. I'd Julia really 'Julia', or, is it true, that she's lost all memory of who she is?Written by
Les Adams <email@example.com>
Was remade in 1987, as "Dead of Winter" staring Mary Steenbergen and Roddy Mcdowell. See more »
When Sparkes calls Mrs. Hughes from the employment agency, she begins dialing the phone with the writing end of her pencil. In the next shot she's dialing with the eraser end. See more »
Mrs. Hughes - Ralph!
[She motions for Mrs. Hughes to look. Ralph sitting is in a chair, using a knife to slice a lacy garment into shreds]
[He looks at her briefly, then continues slicing]
Put that knife away!
[Again he pauses, but then continues with the knife]
Try to remember - if it weren't for your temper, you wouldn't be in this awful trouble today.
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A Charming and Truly Suspenseful Little Gothic Thriller
Nina Foch delivers a surprisingly strong performance as the title character in this fun little Gothic nail-biter. She accepts a position as secretary to a London society dowager (played imperiously by Dame May Witty) and her creepy son (the effete and bothersome George Macready). Before she knows it, she awakens to find herself in a seaside manor she's never seen before, where Witty and Macready are calling her Marian and trying to convince the servants and the nearby townspeople that she's Macready's mad wife. Of course this pair can only be planning dastardly deeds, and even though we know Julia has to eventually escape her trap, director Joseph Lewis builds real suspense in answering the question of just how she'll manage it.
"My Name Is Julia Ross" has nothing stylistically to set it apart from any number of films that came out at the same time period, but I was surprised by how well it held together despite its shoe-string budget and B-movie pedigree. There are quite a few moments that just may have you on the edge of your seat, and I found myself really rooting for Julia as she caught on to the scheme underfoot and began to outsmart her captors. In any other Gothic thriller, the heroine would have swooned, screamed and dithered, waiting for her hero to come and save her. So I can't tell you how refreshing it was to have the heroine in this film use her brain and figure out how to save herself.
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