A tough lady gangster learns that she will be totally blind within a week. She seeks help from the one eye surgeon who may be able to save her sight. In the process, he also causes her to ...
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A tough lady gangster learns that she will be totally blind within a week. She seeks help from the one eye surgeon who may be able to save her sight. In the process, he also causes her to have a change of heart.Written by
Daniel Bubbeo <firstname.lastname@example.org>
Joan Crawford told the audience at the Town Hall Legendary Ladies show in 1972 that she considered this her worst film. See more »
When Beth and Dr. Halleck are out for a drive about 49 minutes into the film, they are shown turning a corner in a 1949 Lincoln without whitewall tires. When they arrive at the woman's prison, they are in a 1951 Lincoln with whitewall tires. Also note the differences in the two car's grilles. Also, in a forward-looking shot from inside the car, the windshield wipers have been removed, but exterior shots show them in place. See more »
Good hard-boiled melodrama is better than the plot outline suggests...
If it's true that JOAN CRAWFORD called this one of her "worst" films, then she is just as bad as judging her own work as Bette Davis was. Bette thought so little of "It's Love I'm After" which everyone thinks is one of the best screwball comedies of the '30s, starring Bette, Leslie Howard and Olivia de Havilland.
If THIS WOMAN IS DANGEROUS sounds like a lurid melodrama, it is. But it's got a lot of good things going for it. First of all, the characters are an interesting bunch--including the two rough and tough Jackson brothers (DAVID BRIAN and PHILIP CAREY), DENNIS MORGAN sincere in one of his better dramatic roles as an eye specialist who treats Crawford and eventually falls in love with her, and a plot that keeps you wondering how the whole affair is going to turn out because Brian's character is such a hot-headed guy with a gun.
Also, it never becomes sappy in the romance department nor does it have the soap opera flavor of many a Joan Crawford film. Instead, it's got an almost film noir quality about the sharp B&W photography, a good score, and other technical qualities that raise it above the norm for what looks like a low-budget Warner film. But the plot has enough interesting moments to keep viewers watching until the final shootout in a hospital while a surgery is being performed.
David Brian seems to be relishing his tough guy role (which seldom varied during his stay at Warner Bros.), and Joan Crawford gets a chance to play out all her anxieties and frustrations with her customary skill. Her career at Warners was just about to come to an end because she was dissatisfied with the scripts she'd been given after making such a strong showing during her first few years with the studio.
A good, steamy melodrama that manages to overcome the improbable story line by being directed in brisk, no nonsense style by Felix Feist, who knew how to keep the pace tight as the story builds toward a climax.
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