A private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses and duplicitous dames.
In 1928, young heiress Martha Ivers fails to run off with friend Sam Masterson, and is involved in fatal events. Years later, Sam returns to find Martha the power behind Iverstown and married to "good boy" Walter O'Neil, now district attorney. At first, Sam is more interested in displaced blonde Toni Marachek than in his boyhood friends, but they draw him into a convoluted web of plotting and cross-purposes.Written by
Rod Crawford <email@example.com>
"Screen Director's Playhouse" broadcast a 30 minute radio adaptation of the movie on June 23, 1950 with Barbara Stanwyck reprising her film role. See more »
During the scene when Martha and Sam are standing by the campfire, the amount of smoke varies drastically from angle to angle. See more »
[recounting the time he was away from Iverstown]
Well, that brings us up to my 21st year, when I became a man... officially.
How did it feel to become a man, officially?
I'd felt I'd been there before.
How did you feel about becoming a woman, officially?
I felt I'd been there, too.
See more »
Opening credits prologue: IVERSTOWN 1928. See more »
A powerhouse cast is assembled for "The Strange Love of Martha Ivers." It's a treat to watch this able quintet at work, making for an engrossing film experience.
Barbara Stanwyck is at her peak--sure, confident, and unfailing. Van Heflin's natural talent makes everything he does seem effortless. Kirk Douglas offers a most impressive film debut in what, in retrospect, is an uncharacteristic role. Lizabeth Scott (who seems to me a fascinating cross between Lauren Bacall and Rosemary Clooney) is constantly engaging. Long after her part has faded, Scott's image remains indelibly fixed in the memory. And finally, the great Judith Anderson is on in a strong character role.
Miklos Rozsa's compositional style is remarkable in its adaptablity. Close one's eyes, and the film could well be set a thousand years earlier--or any point in between. Which is to say, it's general, while at the same time, specific.
The writing team headed by Robert Rossen created a slick and saucy script, which holds interest throughout, and Hal B. Wallis was sharp enough to retain this productional team formula for many years. Were the film to have been given a perhaps more poetic--less Gothic--title, it might have enjoyed even greater stature in the annals of the genre.
As it is, "Ivers" is a worthy member of the noir film family.
52 of 56 people found this review helpful.
Was this review helpful to you?
| Report this