A Los Angeles socialite kills a man while home alone one night and claims he was an intruder she did not know. It seems like a clear case of self defense until the story hits the papers and people connected to the dead man come forward.
Madeleine Damien is the fashion editor of a slick Manhattan magazine by day and a lively party girl by night. Unfortunately, the pressures of her job, including kowtowing to a hefty ... See full summary »
Chris Hunter kills an intruder and tells her husband and lawyer it was an act of self-defense. It's later revealed that he was actually her lover and she had posed for an incriminating statue he created.Written by
Daniel Bubbeo <email@example.com>
This combination of a murder mystery and post-war reclamation of Family life is Film-Noir at its definition but not in its execution. It is handled quite regularly and straightforward, aside from some very effective L.A. street scenes that evoke Noir overtones.
It's most effective in its "new" Hollywood discovering of extramarital affairs brought on by quick vows and hasty deployment by our Military. Predictably some of these quick, for convenience Marriages could not hold true, especially for the left alone "War Widows" who had little time to fall deeply in love with their Husbands.
The mystery and courtroom part pales in comparison to the social drama and infidelity conundrums, and it is the deconstructing psychology of this unfortunate situation that compels this to above average Cinema. Eve Arden's accurate understanding insight and delineation speech is quite a mid 1940's welcome revelation to Movie audiences. It was this very seldom open discussion about private affairs that elevates this one and moves it to the periphery of Film-Noir.
15 of 16 people found this review helpful.
Was this review helpful to you?
| Report this