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Daisy Kenyon (1947)

Passed | | Drama, Romance | 25 December 1947 (USA)
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 ... See full summary »

Director:

Otto Preminger

Writers:

David Hertz (screenplay), Elizabeth Janeway (based on novel by)
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Cast

Complete credited cast:
Joan Crawford ... Daisy Kenyon
Dana Andrews ... Dan O'Mara
Henry Fonda ... Peter Lapham
Ruth Warrick ... Lucille O'Mara
Martha Stewart ... Mary Angelus
Peggy Ann Garner ... Rosamund O'Mara
Connie Marshall ... Marie O'Mara
Nicholas Joy ... Coverly
Art Baker ... Lucille's Attorney
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Storyline

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 <longhorn1939@suddenlink.net>

Plot Summary | Plot Synopsis

Taglines:

Two kinds of men...two kinds of love...in her life...and when she chooses, it must be forever! (original print ad) See more »

Genres:

Drama | Romance

Certificate:

Passed | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

25 December 1947 (USA) See more »

Also Known As:

Entre el amor y el pecado See more »

Company Credits

Production Co:

Twentieth Century Fox See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Henry Fonda and Dana Andrews appeared together in The Oxbow Incident. Fonda was the main star and Andrews had a smaller but important part. In this movie, though, after the success of Laura and The Best Years of Our Lives, Andrews got billing over Fonda (second after Joan Crawford). And a decade later, Andrews would replace Fonda in the Broadway play "Two for the Seesaw". By that time, of course, Fonda was a huge star while Andrews either starred in b-movies or had smaller roles in A-movies. See more »

Goofs

When Daisy backs out of the garage, the passenger window is down. A few minutes later, she wrecks the car and the window is up (and cracked). See more »

Quotes

Dan O'Mara: I've always distrusted logic. Luckily, I never ran against it in law courts very often, or anywhere else. That's what makes life unexpectedly pleasant: the illogical. Like this moment, for instance.
See more »

Connections

Referenced in Made in U.S.A (1966) See more »

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User Reviews

 
Daisy, Daisy, Tell Me Your Answer, Do
5 August 2008 | by robert-temple-1See all my reviews

This film is the latest release in the Fox Film Noir DVD series. Although it is not a noir film at all, but is instead a potent emotional melodrama, this does not matter. We don't complain, do we, when splendid DVDs of classic films are released under any pretext from those perfectly preserved negatives sitting in California archives crying in unison: 'Release me! Release me!' Anything directed by Otto Preminger is welcome. He may have been a nightmare as a person, but his films were terrific. This film is beautifully directed, and the lighting by Ken Shamroy and the sets by art directors George David and Lyle Wheeler all combine to give tremendous atmosphere to a film which could so easily have had none. Shamroy's lighting is not only good because of the shadows, but the subtle ways he picks out the faces and the eyes. Those were the days! Who can do that so well now? The Hollywood stars then knew how to play to their lights in order to deify themselves to still higher celestial orders. In those days, facial surgery took place by lighting methods, and there was no need for the knife. I am far from being a Joan Crawford admirer, but although she was an even worse nightmare than Preminger as a person, she can act with fantastic, mesmeric power when she wants to. And she does so here. The story is about a confused 'independent woman' of the immediate postwar era who is a mistress of a self-absorbed cad and the wife of a perversely self-denying idealist. Which shall she choose? She dithers with all the uncertainty of a woman in love who is not sure with whom. Does she go for the strong and cruel one, or the weak and adoring one? (Animal instinct always urges the former, on the premise that it is a better breeding prospect for the species that the strong, however cruel, should procreate.) Dana Andrews, usually a nice guy in films, here does a very good job of being a real jerk. Henry Fonda always found it easy, with his relaxed, gangly walk of a hillbilly, to be Mr. Nice Guy, since after all, only nice guys walk like that. He doesn't have a lot of acting to do, but what is needed is there. (No need to chew gum or 'baccy' this time.) This love triangle is greatly aided by a spectacular performance in a supporting role by Ruth Warrick as a harridan wife of Dana Andrews, although the fact that she is a child abuser who beats up her own little girl is severely down-played in the film. There are some wonderful small touches: a garrulous taxi driver reciting endless boring statistics about his trade, and a glassy-eyed couple who descend the stairs and do not say hello, the woman surprisingly being former silent film star Mae Marsh! Yes, it is a pity about the Greenwich Theatre being gone, not to mention Pennsylvania Station, of the interior of which we get a glimpse. This is a powerful soap opera story raised to a higher level by the talent involved.


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