Daisy Kenyon (Joan Crawford) is a commercial artist living in New York City and having a 'back street' affair with a married lawyer, Dan O'Mara (Dana Andrews), whom she hopes to marry as ...
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Millicent Wetherby is a middle-aged woman whose life is devoid of love and affection. Millicent's solitary existence changes when she encounters Burt Hansen a charismatic younger man. As ... See full summary »
Domineering Harriet Craig holds more regard for her home and its possessions than she does for any person in her life. Among those she treats like household objects are her kind husband ... See full summary »
Two aging playboys are both after the same attractive young woman, but she fends them off by claiming that she plans to remain a virgin until her wedding night. Both men determine to find a way around her objections.
Daisy Kenyon (Joan Crawford) is a commercial artist living in New York City and having a 'back street' affair with a married lawyer, Dan O'Mara (Dana Andrews), whom she hopes to marry as soon as he divorces his nagging wife Lucille (Ruth Warrick). Meanwhile, she meets a returning world-war-two veteran, Peter Lapham (Henry Fonda), a nice and decent man, whom she marries. Dan gets his divorce and then tries to persuade Daisy to leave her loving husband.Written by
Les Adams <email@example.com>
By the time he co-starred in "Daisy Kenyon," Dana Andrews had worked for Otto Preminger in two other Film Noirs, "Laura" and "Fallen Angel". A few years later he'd star in another Preminger Noir, "Where the Sidewalk Ends" while Henry Fonda would co-star in Preminger's political drama "Advise & Consent". See more »
Near the end of the movie, there are snow chains already on the wheels when Daisy leaves the cottage at the cape. No one had been to the cape since it had snowed. See more »
Daisy, do you know you've never told me you love me? Don't say it now. I like you for not saying it. Let it grow. Let it grow until loving me means loving the earth, and all that's sweet and green and mellow and exciting on the face of the earth and the face of the ocean.
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In the early scenes, Crawford has a dog that looks like a border collie. His name is Tubby and she appears to dote on him. Suddenly, he disappears.
That said, this is one of Crawford's very best movie's. Twentieth Century Fox, and Otto Preminger, did beautifully by her.
So many things to say ...! It takes place in the neighborhood where I was born and still live. The Greenwich Theater, where Joan attends a movie, was a staple of Greenwich Village. When it was twinned it started showing less interesting things but it was still a landmark. Then it was torn down and in its place stands a health club.
The diner where Henry Fonda waits for Crawford while she's at the movie is still there. The curtain in its window looks the same -- almost 60 years later.
Crawford and Dana Andrews make a somewhat unlikely torrid romantic duo. But they work well together. The same can be said for Crawford and Fonda. Their romance is a bit more implausible but, again, they are directed beautifully and advance the plot admirably.
In a sense, this is Fonda's closest brush with film noir. He is a vet who has also lost his wife. The scene in which he thrashes around a nightmare is brilliantly staged. The background music there, as elsewhere, is excellent.
Most of the characters speak in a sort of Henry Higgins manner. "Hurricane" is pronounced just as Eliza Doolittle was taught to say it: "hurricen." Crawford always had that quality -- "syew" for "sue," "cahn't" for "can't." But the movie withstands these petty issues. It's exciting and it is beautifully cast. Ruth Warrick is superb in the small role of Andrews's wife. Peggy Ann Garner is too, as one of his daughters. So is the girl playing his other daughter. And Crawford's roommate, whose name I don't recognize, is convincing as well.
This is one of the lesser known vehicles of all three of its stars and not one of Preminger's better known, either. But it's fascinating and deserves kudos for all concerned.
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