A young Englishman plots revenge against his late cousin's mysterious, beautiful wife, believing her responsible for his death. But his feelings become complicated as he finds himself falling under the beguiling spell of her charms.
A man is found murdered, with witnesses convinced about the woman they saw leaving his apartment. However, it becomes apparent that the woman has a twin, and finding out which one is the killer seems impossible.
Olivia de Havilland,
When Philip Ashley's much-loved (and rich) cousin Ambrose dies, he is convinced that Ambrose was murdered by his new wife Rachel to inherit his wealth. But when he meets Rachel and falls in love with her, he knows that his suspicions must have been unfounded. But were they, or is Rachel just trying to use Philip to get at the estate Ambrose left to him instead of to her? And will she murder him next?Written by
Ken Yousten <firstname.lastname@example.org>
Richard Burton's posthumously-published diaries reveal that he accepted the role of Philip in this film because it was being planned as a comeback vehicle for Greta Garbo under the direction of his friend George Cukor, whom he regarded as one of the great Hollywood directors. He claims that Garbo personally told him she would only do the film with him as her leading man. When negotiations with both Garbo and Cukor fell through (Garbo never made another film, and Cukor and Burton never worked together), Burton remained attached to the project, which was refashioned as a vehicle for Olivia De Havilland following her Oscar-winning success in "The Heiress". Burton claims that De Havilland was impossibly arrogant after her Oscar triumph, insisted on having sole above-the-title star billing, and also would not allow anyone to call her by her first name, only as "Miss De Havilland". He found this state of affairs preposterous and was rude about her for the rest of his life whenever the film (which he despised) came up in interviews. See more »
This masterful, complex mystery story between a younger man and older woman deals with the very modern issues of trust in relationships, and how well you can know someone. This film was made long before I was born, but for any DuMaurier fan, it is a gift. It is no wonder that Daphne DuMaurier's books were so often made as films, with her combination of romance, mystery and mistrust that marked all of her work... it remains potent.
It is a shame that this Oscar nominated film has become all but lost. While this is a dark story, shot appropriately in noir/Gothic shadows, most video versions available (and bootleg DVDS) seem to be from time-darkened versions. How I long for this to be digitally remastered and made available in a really good DVD.
Obviously this film was recognized at the time it was made. Time has unfortunately underrated it, as I believe DeHavilland has also become underrated. The qualities that are valued in today's leading GIRL roles, flashy, young, trash talking, have no value for the pleasant, understated nuanced womanliness DeHavilland brought to this role. Her performance here is an acting lesson for film, especially as this role required the difficult job of balancing the audiences doubts about whether she is good or bad.
Burton's acting is a lesson too, in film intensity. He is much better here than in many of his later performances where he seems to have studied his pout a bit too much. This, and his role as George in "Who's Afraid of Virginia Woolf" are among his best work.
This is a must-see for anyone interested in acting, and complex, nuanced film story telling.
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