Angel Face

The film starts with a call for an ambulance. A woman at a large estate has almost been asphyxiated by the gas heater in her room. The key has been removed from the radiator, so it seems deliberate. Did somebody try to kill her or did she try to kill herself or was it just some kind of odd freak accident?

While the commotion is going on upstairs, ambulance driver Frank Jessup (Robert Mitchum) wanders downstairs and finds the stepdaughter ( her dad is married to the wealthy woman), Diane (Jean Simmons) playing the piano. And that's where the attraction begins on the part of Frank. It's where the obsession begins on the part of Diane. It's where Diane mutters her first double entendre. She asks how her stepmother is, and says "It's so hard, just waiting...". Waiting for her to live, or for her to die?

The film is ultimately a wicked study in obsession - the kind of obsession that has no boundaries - the kind of obsession between a man and a woman - the kind of obsession that is so self-serving. And, interestingly, it is largely one-sided - since Frank may enjoy the delights of Diane, but also knows deep down that she should be put back on the shelf. Diane's obsession is so real that you do basically know that Mitchum's Frank Jessup doesn't really stand a chance.

But Frank wasn't just wandering through life alone when Diane met him. The other woman in Frank's life, played by Mona Freeman, is blonde and desirable. She may be an excellent cook and not ask questions, as Frank says, but there is some stark language for the production code era. He mentions she sleeps in pajamas. He mentions how much she weighs - "stripped". The implication is that Frank may be the free agent that he claims to be, but he has been sleeping with the lady. But she's a lady with a level head, and she is not just going to wait around for Frank to come to his senses - or not. Instead she explores another more dependable romantic possibility.

Let me just say Jean Simmons was a revelation here. She's a good actress but she has always come across as a virginal school marm type in all of the roles I saw her in until this one. I would have never believed she could have played opposite Mitchum's cool, relaxed persona and have made it work, but she did.

This film is dark to the extreme and is as fresh, as vital, and as pertinent as though it were made just yesterday.

Apparently shot in 18 days to ensure Jean Simmons filmed her part while still under contract to producer Howard Hughes, this is a fine film noir with a particularly memorable ending.

I wasn't sure I could believe Robert Mitchum, the king of world-weary sardonic-ism, falling so readily for the youthful charms of evil step-daughter Simmons, especially with a smart, pretty and loving girl of his own, but once I surrendered this point, it was easy, rather like Mitchum's ambulance-driver, to be persuaded to follow the plot here through to the bitter end.

I actually considered both leads to be somewhat miscast in the film, Simmons effect dulled somewhat by a rather ugly helmet of a wig and the dialogue lacks the snap of a Hammett, Chandler or even a Spillane, but the narrative is intriguing and the ambivalent natures of both the main parts strangely compelling, plus, like I said there's a surprise, no make that shock ending, to finish things off with a knockout punch.

Director Preminger mixes up some staple noir elements of a femme fatale, her stooge of a male admirer, sex, murder and mystery, employing big-close-ups, atmospheric lighting and crisply shot monochromatic sets, perhaps only faltering over a slightly dull, over-technical courtroom scene, and the miscasting already mentioned.

Nevertheless, the story crackles along and I doubt many will anticipate the climax, which certainly caught me off-guard and yet in retrospect, delivers a finish true to the genre's often nihilistic traits.

Mitchum of course is naturally very good as the ensnared Frank, the piano-playing Simmons, dressed throughout in black and white outfits, perhaps stressing the duality of her nature, a little less so.

Really a good film. If you like Robert Mitchum, you need to see this movie. Jean Simmons plays a good psycho. I figured the movie could only end one of two ways. One was happy, the other, unreal. It was the unreal one. See if you can guess, before it happens.

Otto Preminger takes the noir/ femme fatale genre a step beyond in his usual pessimism. This world of shady mansions, sad piano-playing and lonely boulevards perpetually driven, suits well Jean Simmons's calm insanity and Mitchum's stoic acceptance of his tragic destiny. Mitchum uses the same discontent tone to order a beer and to refuse to be part of a murder. He smokes, empty-minded, staring out of the window, too tired to get his way out of the schemes of his employers. He may take the most important decision of his life, but after the cigarette's over he'll be doing the total opposite. On the other hand one has the feeling that the film wouldn't worked as well with one more conventional noir leading lady, like Lana Turner. Simmons' charming and weak aspect makes her character irresistible. To top it all there's a masterful score by Dimitri Tiomkin and the most surprising of endings.

Robert Mitchum and Jean Simmons give great performances in this deliberate but interesting drama about a beautiful woman who is not what she seems. The ending will surprise and shock you. I saw this film in 1953 as a young boy and can remember it like it was yesterday. It has a way of sticking with you. Leon Ames,Herbert Marshall, Barbara O'Neil, and Jim Backus (voice of Mr. Magoo) round out a nice cast.