191 reviews
She's wonderfully scary in this role, which I view as a sort of precursor to other "crazy chick" flicks like Play Misty for Me and Fatal Attraction. The primary difference is the crazy woman marries the man she's obsessed with--some could argue for no good reason, as Richard is a rather boring chap who happens to remind Ellen of her father. But she has mommy and sister issues in addition to her daddy issues. So the audience knows she's manipulative and obsessive, but it's interesting to see how long it takes for hubby to realize that he actually married a monster. Although the film suggests Ellen is simply evil, she clearly is a sociopath. This film is worth watching primarily because you have these ho-hum dull folks in Ellen's life who all end up being her victim in one way or another, primarily because none of them wanted to accept that this woman was capable of such heinous acts. Tierney deserved an Oscar nomination for the scene on the water alone. She's brilliant in this role.
Like many post-war films, "Leave Her to Heaven" is a study of a troubled individual. Very troubled. This film was a great setup for Gene Tierney to go on and play the manipulative, selfish Isabel in "The Razor's Edge." She looked like a goddess and projected a certain austerity, both of which made her good for this type of role.
Tierney plays an obsessively possessive woman who lets nothing and no one get in the way of the object of her affections. In this case, it's Cornel Wilde, whose appeal has always been lost on me. Her mother and adoptive sister (Jeanne Crain) suspect that Ellen has a few problems but sublimate their feelings until they can't even look at her anymore. Ellen is still mourning the death of her father and apparently so dominated his attention that it destroyed his relationship with his wife. "Ellen loved him too much," her mother says. And how much did daddy love her, one wonders, thinking with a modern sensibility. And how exactly did he die? After captivating Wilde, Tierney sets to work making sure he never has a minute with anyone else...in any way necessary! The scene in the lake with her crippled brother-in-law is truly frightening.
Though Tierney, in my opinion, was one of the most beautiful women in films, she was never, ever more glorious looking than in this vibrantly photographed production. The most thrilling scene for me is when she scatters her father's ashes - though some may find the music a little strong, I thought it very powerful and atmospheric, particularly in that scene.
Believe it or not, "Leave Her to Heaven" was remade as a TV movie with Loni Anderson, which always prompts a friend of mine to say, when a film is mentioned, "Are you talking about the original or the Loni Anderson version?" There's only one version worth talking about, and it's this one.
Tierney plays an obsessively possessive woman who lets nothing and no one get in the way of the object of her affections. In this case, it's Cornel Wilde, whose appeal has always been lost on me. Her mother and adoptive sister (Jeanne Crain) suspect that Ellen has a few problems but sublimate their feelings until they can't even look at her anymore. Ellen is still mourning the death of her father and apparently so dominated his attention that it destroyed his relationship with his wife. "Ellen loved him too much," her mother says. And how much did daddy love her, one wonders, thinking with a modern sensibility. And how exactly did he die? After captivating Wilde, Tierney sets to work making sure he never has a minute with anyone else...in any way necessary! The scene in the lake with her crippled brother-in-law is truly frightening.
Though Tierney, in my opinion, was one of the most beautiful women in films, she was never, ever more glorious looking than in this vibrantly photographed production. The most thrilling scene for me is when she scatters her father's ashes - though some may find the music a little strong, I thought it very powerful and atmospheric, particularly in that scene.
Believe it or not, "Leave Her to Heaven" was remade as a TV movie with Loni Anderson, which always prompts a friend of mine to say, when a film is mentioned, "Are you talking about the original or the Loni Anderson version?" There's only one version worth talking about, and it's this one.
Can a film noir be effective in glorious colour or is that a contradiction in terms? Anyway I found this lesser-known thriller to be as exciting and involving as any other black-and-white-mean-streets scenario that the 40's threw up. Tightly plotted, well acted and above all, beautifully photographed, I was gripped from first to last. My only caveats might have been the "framing" device of Cornel Wilde's lawyer's top-and-tail introduction and epilogue, which just takes away a little of the dramatic tension, an over-intrusive musical score, particularly at Wilde and Tierney's first "strangers on a train" meeting and also the fact that more wasn't made of the conclusion of the otherwise tautly drawn crucial trial scene. The acting is top-rate, with no discernible weak links. Wilde, as the duped author, shows hidden depths to his handsome exterior, Crain, in a sub De-Havilland part modulates her performance winningly as her character's importance to the plot develops and Vincent Price is absolutely excellent as Tierney's abandoned fiancé, a lawyer on the make who convincingly destroys Wilde and Crain in his vengeful piece-de-resistance as the prosecuting counsel. What a shame he was later reduced to his stereotype cackling mad-man persona of seemingly dozens of horror films. He's a revelation here, almost stealing the movie in said trial scene where he's made to recite long pieces of staccato dialogue which he delivers pitch-perfect. Gene Tierney, of course, is enthralling in the pivotal role of the possessed / possessive Ellen, who uses her obvious beauty and sophistication to ensnare Wilde, before taking off into psychopath territory, which sees her effectively kill Wilde's disabled but adored younger brother and devise an almost perfect beyond-the-grave trap for Wilde and Crain to fall into. Great as all these pluses are, I keep coming back to the cinematography which captures like no other film I've ever seen tones of radiant beauty in almost every shot, both interior and exterior. In fact all I can say to finish is that I could find very little to fault this glorious but unheralded example of the golden age of Hollywood.
Based on a novel by Ben Ames Williams, LEAVER HER TO HEAVEN is a stunning 40s film, filled with spectacular set decorations and Oscar-winning color cinematography.
The story is a solid melodrama about beautiful Ellen Berent (Gene Tierney in her Oscar-nominated performance) who marries a naive novelist (Cornel Wilde). He is drawn into her family on the eve of the ceremonial scattering of her father's ashes in New Mexico. From the getgo the family seems full of angst as everyone stays out of Ellen's way. On a whim, she breaks her engagement to a lawyer (Vincent Price) and marries Wilde.
Everything seems OK until they visit his crippled brother (Darryl Hickman) in Georgia. She seems jealous of Wilde's attention to the kid. Somehow, plans are made for the three of them to go to Wilde's "lodge" in Maine, where a faithful servant )Chill Wills) also lives. Tierney seems more and more edgy and starts to openly resent Hickman and Wills. And then her mother a step sister (Mary Philips, Jeanne Crain) arrive from Bar Harbor.
Everything starts to unravel at this point as Tierney becomes convinced that Wilde and falling for Crain. A series of mysterious accidents happen and there is a big (overblown) court case tried by the man (Price) she dumped to marry Wilde and a stunning turn of events.
The movie is gloriously filmed in rich Technicolor that accentuates deep reds, warm golds, and luscious shades of turquoise. The Maine and New Mexico interiors are just great and look like they came out of a contemporary magazine, including the simple little lodge by the lake. Also of note is the driving dramatic score by Alfred E. Newman.
Tierney is superb as the troubled Ellen and has never looked more beautiful. Wilde is suitable perplexed as the the novelist. Crain is solid as the stalwart sister. Price overacts outrageously (but it's fun). Philips, Wills, and Hickman are good. Others in the cast include Ray Collins, Olive Blakeney, Gene Lockhart, Mae Marsh, Grant Mitchell, and Reed Hadley.
LEAVE HER TO HEAVEN ranks among the best melodramas of the 1940s.
The story is a solid melodrama about beautiful Ellen Berent (Gene Tierney in her Oscar-nominated performance) who marries a naive novelist (Cornel Wilde). He is drawn into her family on the eve of the ceremonial scattering of her father's ashes in New Mexico. From the getgo the family seems full of angst as everyone stays out of Ellen's way. On a whim, she breaks her engagement to a lawyer (Vincent Price) and marries Wilde.
Everything seems OK until they visit his crippled brother (Darryl Hickman) in Georgia. She seems jealous of Wilde's attention to the kid. Somehow, plans are made for the three of them to go to Wilde's "lodge" in Maine, where a faithful servant )Chill Wills) also lives. Tierney seems more and more edgy and starts to openly resent Hickman and Wills. And then her mother a step sister (Mary Philips, Jeanne Crain) arrive from Bar Harbor.
Everything starts to unravel at this point as Tierney becomes convinced that Wilde and falling for Crain. A series of mysterious accidents happen and there is a big (overblown) court case tried by the man (Price) she dumped to marry Wilde and a stunning turn of events.
The movie is gloriously filmed in rich Technicolor that accentuates deep reds, warm golds, and luscious shades of turquoise. The Maine and New Mexico interiors are just great and look like they came out of a contemporary magazine, including the simple little lodge by the lake. Also of note is the driving dramatic score by Alfred E. Newman.
Tierney is superb as the troubled Ellen and has never looked more beautiful. Wilde is suitable perplexed as the the novelist. Crain is solid as the stalwart sister. Price overacts outrageously (but it's fun). Philips, Wills, and Hickman are good. Others in the cast include Ray Collins, Olive Blakeney, Gene Lockhart, Mae Marsh, Grant Mitchell, and Reed Hadley.
LEAVE HER TO HEAVEN ranks among the best melodramas of the 1940s.
No one can watch this without remembering Gene Tierney's searing blue eyes, Jeanne Crain's face of innocence, or Cornel Wilde (lightyears from The Naked Prey) here looking like a photo of Pierre & Gilles come to life. It's 110 minutes of color-time-travel basking in the surreally saturated Technicolor palette of the mid 40's.
For those who have been denied the experience of watching the recently restored version with a rapt audience on a big screen as happened April 26, 2008 at San Francisco's Castro Theatre, I can only hope you'll contact a film preservation-minded theater in your area.
Though I've watched this film on DVD, nothing prepared me for the impact of the big screen. The closeups alone will take your breath away.
Is it melodrama or is it noir?--leave that to Heaven!
For those who have been denied the experience of watching the recently restored version with a rapt audience on a big screen as happened April 26, 2008 at San Francisco's Castro Theatre, I can only hope you'll contact a film preservation-minded theater in your area.
Though I've watched this film on DVD, nothing prepared me for the impact of the big screen. The closeups alone will take your breath away.
Is it melodrama or is it noir?--leave that to Heaven!
Beautiful Ellen Berent unashamedly jilts her fiancé, Russell Quinton, for writer Richard Harland. Her attraction to Harland being that he reminds her of her deceased father. But soon it becomes evident that Ellen is very possessive and literally will do what it takes to keep all away from her newly obtained beau.
Director John M. Stahl and writer Jo Swerling adapt from the novel written by Ben Ames Williams. Filmed in luscious Technicolor by Leon Shamroy (Oscar winning), Leave Her To Heaven proves two indisputable things. One is that to craft a searing film noir it doesn't have to be filmed in monochrome, the other is that it's proof positive that Gene Tierney (Ellen) was more than just a gorgeously effective face.
Tierney of course needs no introduction to fans of film noir, her appearance and quality of performance in the previous years release of Laura ensures that. While to a lesser degree the mixed Whirlpool four years later also cements her status in the corridors of darkness. But an argument can be made for this being her crowning glory, both in terms of her effervescent beauty and of the performance she gives (Oscar nominated). It's not outrageous to say that the film achieves greater heights because of her portrayal as Ellen, a character that is the epitome of the femme fatale. Tierney has this beguiling knack of shifting from charm personified to outright evil in a heart beat - and amazingly as Ellen grows more warped and jealous, Tierney grows ever more sexy. It's not just Cornel Wilde's duped Richard Harland falling into her disturbed web, it's any watching human being with a pulse! Even as the shockingly cold moments unravel, and there are some truly chilling ones for sure, Ellen draws us in with a lusty fascination that's rather unique.
Credit too must go to Stahl's direction, perhaps a director that unfairly sits in the lounge of the unsung, he weaves his story adroitly, setting up plot roads to keep us intrigued, only to then shift focus back on the dame holding court for characters and viewers alike. Wilde does fine, his mannered approach work works well off of Tierney's show stealing turn while in support we get pretty as a picture Jeanne Crain as the crucial sister character, Ruth Berent, while Vincent Price - elegant as always - does his profession proud in the small but important role of the jilted Quinton.
Leave Her To Heaven is a must for noir fans, a must for Tierney fans, and definitely a production to get the best out of your High Definition TV. 8.5/10
Director John M. Stahl and writer Jo Swerling adapt from the novel written by Ben Ames Williams. Filmed in luscious Technicolor by Leon Shamroy (Oscar winning), Leave Her To Heaven proves two indisputable things. One is that to craft a searing film noir it doesn't have to be filmed in monochrome, the other is that it's proof positive that Gene Tierney (Ellen) was more than just a gorgeously effective face.
Tierney of course needs no introduction to fans of film noir, her appearance and quality of performance in the previous years release of Laura ensures that. While to a lesser degree the mixed Whirlpool four years later also cements her status in the corridors of darkness. But an argument can be made for this being her crowning glory, both in terms of her effervescent beauty and of the performance she gives (Oscar nominated). It's not outrageous to say that the film achieves greater heights because of her portrayal as Ellen, a character that is the epitome of the femme fatale. Tierney has this beguiling knack of shifting from charm personified to outright evil in a heart beat - and amazingly as Ellen grows more warped and jealous, Tierney grows ever more sexy. It's not just Cornel Wilde's duped Richard Harland falling into her disturbed web, it's any watching human being with a pulse! Even as the shockingly cold moments unravel, and there are some truly chilling ones for sure, Ellen draws us in with a lusty fascination that's rather unique.
Credit too must go to Stahl's direction, perhaps a director that unfairly sits in the lounge of the unsung, he weaves his story adroitly, setting up plot roads to keep us intrigued, only to then shift focus back on the dame holding court for characters and viewers alike. Wilde does fine, his mannered approach work works well off of Tierney's show stealing turn while in support we get pretty as a picture Jeanne Crain as the crucial sister character, Ruth Berent, while Vincent Price - elegant as always - does his profession proud in the small but important role of the jilted Quinton.
Leave Her To Heaven is a must for noir fans, a must for Tierney fans, and definitely a production to get the best out of your High Definition TV. 8.5/10
- hitchcockthelegend
- Dec 14, 2009
- Permalink
- vincentlynch-moonoi
- Apr 22, 2013
- Permalink
- claudio_carvalho
- Apr 22, 2012
- Permalink
I don't think I agree with those who have designated 'Leave Her to Heaven (1945)' a film noir. This Technicolor picture and it's surprising how much the presence of colour can distort the tone of a film feels much closer to the claustrophobic domestic melodramas of the same period, such as Hitchcock's 'Rebecca (1940)' and 'Suspicion (1941),' and Cukor's 'Gaslight (1944).' But there's one important difference. By reversing the gender roles, and placing the power in the hands of the wife, director John M. Stahl here creates a formidable femme fatale, personified by the lovely and luminous Gene Tierney. The vibrant Technicolor photography is certainly pleasing to the eye, and the saturated colours add a perhaps-unintended touch of the surreal, but the dazzling colour palette distracts from and obstructs the film's darker themes. As much as I wouldn't like to deprive myself of Tierney's sparkling green eyes, I think that, in terms of atmosphere, 'Leave Her to Heaven' would have worked better in black-and-white.
The film starts off in the classic noir style: told in flashback, the story opens with popular author Richard Harland (Cornel Wilde), who meets an alluring woman, Ellen Berent (Tierney), on a train. Ellen quickly charms Richard with her dazzling looks and strong personality; soon, despite her own engagement to a prominent lawyer (Vincent Price), she has proposed their marriage, an offer he finds impossible to refuse. Here, 'Leave Her to Heaven' takes a distinct turn in storytelling approach, abruptly shifting its attention to Ellen's perspective, at which point we begin to recognise that perhaps she isn't as lovely as her new husband has been led to believe. The new couple move to Richard's secluded lakeside lodge, where they must also care for his crippled younger brother, Danny (Darryl Hickman, giving one of those "excited boy scout" child performances that were popular in the 1940s). As the weeks go by, Ellen's near-obsessive love for Richard begins to brood anger, hatred and jealousy, culminating in the cruelest of acts.
Tierney's character initially elicits an amount of sympathy, especially given Richard's apparent inability to recognise his wife's desperate need for privacy and intimacy in their relationship. However, it doesn't take long before her behaviour, fuelled by suspicion and paranoia, becomes entirely contemptible, and there's no longer any trace of the charming enchantress we saw in 'Laura (1944).' Ellen's psychosis is an intriguing one: she was obviously obsessed with love for her own father what Freud called "feminine Oedipus attitude," or Electra complex and, following his death, subsequently fell in love with Richard, who bears a remarkable resemblance to him. Such is her passion for her father, through Richard, that she cannot bear to share him with anybody; thus, her mania stems from the simple notion that "she loves too much." Ellen's murders are shocking in their own low-key simplicity, and Tierney, who received her only Oscar nomination for the role, carries out her evils with an icily-impassive face. But, geez, even this chilling portrayal can't make me stop loving her.
The film starts off in the classic noir style: told in flashback, the story opens with popular author Richard Harland (Cornel Wilde), who meets an alluring woman, Ellen Berent (Tierney), on a train. Ellen quickly charms Richard with her dazzling looks and strong personality; soon, despite her own engagement to a prominent lawyer (Vincent Price), she has proposed their marriage, an offer he finds impossible to refuse. Here, 'Leave Her to Heaven' takes a distinct turn in storytelling approach, abruptly shifting its attention to Ellen's perspective, at which point we begin to recognise that perhaps she isn't as lovely as her new husband has been led to believe. The new couple move to Richard's secluded lakeside lodge, where they must also care for his crippled younger brother, Danny (Darryl Hickman, giving one of those "excited boy scout" child performances that were popular in the 1940s). As the weeks go by, Ellen's near-obsessive love for Richard begins to brood anger, hatred and jealousy, culminating in the cruelest of acts.
Tierney's character initially elicits an amount of sympathy, especially given Richard's apparent inability to recognise his wife's desperate need for privacy and intimacy in their relationship. However, it doesn't take long before her behaviour, fuelled by suspicion and paranoia, becomes entirely contemptible, and there's no longer any trace of the charming enchantress we saw in 'Laura (1944).' Ellen's psychosis is an intriguing one: she was obviously obsessed with love for her own father what Freud called "feminine Oedipus attitude," or Electra complex and, following his death, subsequently fell in love with Richard, who bears a remarkable resemblance to him. Such is her passion for her father, through Richard, that she cannot bear to share him with anybody; thus, her mania stems from the simple notion that "she loves too much." Ellen's murders are shocking in their own low-key simplicity, and Tierney, who received her only Oscar nomination for the role, carries out her evils with an icily-impassive face. But, geez, even this chilling portrayal can't make me stop loving her.
- Noirdame79
- Oct 21, 2005
- Permalink
- Bunuel1976
- Feb 16, 2009
- Permalink
I'm always interested in Gene Tierney so this one was an easy choice to watch.
Right off, the majority of the film is just a shocker. When you start to realize that she's a little psycho, if your like me, you'll flashback to Glenn Close and Fatal Attraction. Except this one was 42 years earlier. There are so many moments that reminded me of it that it seemed spooky.
This film is gene Tierney's all the way. She does a great job to say the least. If you go into this and think your gonna see Rebecca of Sunnybrook Farm...think again. Although Cornell Wilde and Jeanne Crain are in this, they never really had a chance in terms of "spotlight". Tierney's character will just mesmerize you on how unstable she is.
That's not to say this film doesn't have flaws. The ending is just absolutely ridiculous and just implausible. Where in this country do they get a DA to try a case who's an actual part of the background of the case? I know of no judge who would permit it. They call that conflict of interest. But, the show goes on. Vincent price goes into parts of their background and it's totally irrelevant. This ending came damn close to almost ruining it for me. I held on though.
Don't let my assessment of the ending ruin it for you though. The film in itself is really good. You'll get to see a real psycho from years back. Long before it was fashionable. So grab the DVD, strap yourself in and watch Tierney put on a show.
Right off, the majority of the film is just a shocker. When you start to realize that she's a little psycho, if your like me, you'll flashback to Glenn Close and Fatal Attraction. Except this one was 42 years earlier. There are so many moments that reminded me of it that it seemed spooky.
This film is gene Tierney's all the way. She does a great job to say the least. If you go into this and think your gonna see Rebecca of Sunnybrook Farm...think again. Although Cornell Wilde and Jeanne Crain are in this, they never really had a chance in terms of "spotlight". Tierney's character will just mesmerize you on how unstable she is.
That's not to say this film doesn't have flaws. The ending is just absolutely ridiculous and just implausible. Where in this country do they get a DA to try a case who's an actual part of the background of the case? I know of no judge who would permit it. They call that conflict of interest. But, the show goes on. Vincent price goes into parts of their background and it's totally irrelevant. This ending came damn close to almost ruining it for me. I held on though.
Don't let my assessment of the ending ruin it for you though. The film in itself is really good. You'll get to see a real psycho from years back. Long before it was fashionable. So grab the DVD, strap yourself in and watch Tierney put on a show.
The melodrama of which Stahl was one of the masters throughout the thirties had muted,probably because the importance of the film noir in the following decade."Leave her to heaven' is as much a film noir as a melodrama.What's particularly puzzling is the color. Like some Lang ,HItchcock or Tourneur works ("secret beyond the door" "spellbound" or "cat people",for instance) ,this is par excellence a Freudian movie.The heroine has never solved her Oedipus complex :she has always been in love with her father -dig the scene when Gene Tierney rides her horse as she throws her father's ashes away. The love she could not make with her father ,she will make it through a third party: a husband who resembles her dad. This could be fine.She loves her husband to the exclusion of all others .But there are others ,and they are all living threats.So these intruders will be enemies.The scene when Tierney sees her family coming through binoculars can be compared to an attack of Indians or bandits when the hero is alone in a remote fort in an adventure film ,as Bertrand Tavernier pointed out in "50 ans de cinéma américain". Had the heroine preserved her intimacy -and how stupid her husband was not to have understood that!-,maybe nothing would have happened.THe color,which might seem irrelevant in a film noir ,is actually necessary because "back of the moon" ,the island in the middle of the lake is a paradise ,soon to become a lost paradise,then a living hell. A probably never better Gene Tierney outshines every other member of the cast ,which is first-rate though.Little by little,we see her become a monster ,and the actress's performance is so convincing (along with a superb script from which a lot of today's writers could draw inspiration) that it gives her horrible crimes an implacable logic.Like in a Greek tragedy. "Leave her to heaven " is by no means "romantic trash" .It's the crowning of Stahl 's career in which he transcends both melodrama and film noir.
- dbdumonteil
- Aug 13, 2003
- Permalink
- seymourblack-1
- Dec 7, 2008
- Permalink
- pamsfriend
- Oct 22, 2006
- Permalink
And there is definitely a Shakespearean sense of murder most foul in the air in this film. "Leave her to Heaven" is what Hamlet says regarding the fate of his mother.
The fate of Ms. Tierney in this film? Probably something less than Heaven.
A couple of comments to add: The color really is incredible in this film and the interiors so well shot, you just want to spend time curled up in these places.
The scene of the boy swimming alongside the boat is frighteningly realistic in a modern way. More like something out of a Scorcese film than a movie from the 1950s.
The ending of the film is poorly done and way too fast.
The fate of Ms. Tierney in this film? Probably something less than Heaven.
A couple of comments to add: The color really is incredible in this film and the interiors so well shot, you just want to spend time curled up in these places.
The scene of the boy swimming alongside the boat is frighteningly realistic in a modern way. More like something out of a Scorcese film than a movie from the 1950s.
The ending of the film is poorly done and way too fast.
- LynxMatthews
- Mar 29, 2004
- Permalink
This was ONE of Gene Tierney's best roles, outside of Laura. She plays a woman lost in jealousy and unjustified vengeance. You understand her love for her husband and are not horrified by her murderous acts because she is so lovely and really not a bad person. You also sympathize with her, because you sense her loneliness. She has to be lonely because she's so caught up this web of jealousy. Who can she confide in with it? No one. Cornel Wilde is sort of a dolt to not see how "mad" is wife is. There are questions you can see he wants to ask of his mother-in-law, but doesn't to his detriment. I love, love this movie. Buy it - you'll watch it over and over again.
- Browwn_Shugar
- Jan 2, 2005
- Permalink
- After reading the plot description and a few reviews, I felt certain that Leave Her to Heaven would be one of those movies I would immediately fall in love with. Gene Tierney's presence alone should have been enough to make it a sure fire winner with me. While it's not bad, I can't give it a full endorsement. As much as I hate doing this, I'll focus on two of the problems that stand out.
1. The Plot - I realize that this is a movie and not necessarily a reflection of real life, but the plot was just too unrealistic. We are supposed to believe that this woman was so evil and self-obsessed that she killed herself just to make others miserable. How silly is that? A woman like that would want to be around to see what effect her actions were having.
2. Cornel Wilde - My biggest problem with the movie was the casting of Cornel Wilde. He is so utterly dry and vanilla that watching grass grow is more exciting. Rarely have I been treated to a more lackluster performance. Are we really supposed to believe that a character like the one played by Gene Tierney would fall for this guy? I didn't buy it for a second.
- With little tinkering on the plot and casting, this could have been an outstanding movie.
- bensonmum2
- May 13, 2005
- Permalink
How one views this movie probably depends on how they feel about genres. Billed as a "film noir," fans of that genre, expecting the typical hard-edged crime film with tough characters, most likely will be disappointed. Fans of melodramas, however, will be delighted as the movie leans far more in that direction.
For my tastes, the film was way too slow and has too much melodrama, but that may have been because I expected something else. Many classic movie fans love this movie. The film did pick up in the second hour once the drowning scene occurred but in my case, it was too-little, too-late. But, don't misinterpret my remarks: it's still a fine film, a true classic.
One thing everyone should agree on: the cinematography. One would be hard- pressed to find a prettier 1940s film than this one, especially on DVD with a flat screen or plasma set. It's just gorgeous with an astounding color palette. The the two leading ladies are eye-pleasing, too: Gene Tierney and Jeanne Crain, so there is plenty to ogle.
For my tastes, the film was way too slow and has too much melodrama, but that may have been because I expected something else. Many classic movie fans love this movie. The film did pick up in the second hour once the drowning scene occurred but in my case, it was too-little, too-late. But, don't misinterpret my remarks: it's still a fine film, a true classic.
One thing everyone should agree on: the cinematography. One would be hard- pressed to find a prettier 1940s film than this one, especially on DVD with a flat screen or plasma set. It's just gorgeous with an astounding color palette. The the two leading ladies are eye-pleasing, too: Gene Tierney and Jeanne Crain, so there is plenty to ogle.
- ccthemovieman-1
- Mar 16, 2006
- Permalink
Leave Her to Heaven reunites two of the stars from Otto Preminger's masterpiece, Laura. Gene Tierney and Vincent Price both appear in the film, and the fact that Vincent Price is in it is my main reason for viewing. It's disappointing that Price isn't made the lead actor, as that accolade goes to Cornel Wilde. Leave Her to Heaven is a story of love, taking in themes of selfishness and jealousy. It doesn't come close to being as great as the aforementioned Laura, but the film is still a good example of Hollywood's golden era. Gene Tierney stars as Ellen Harland. Women can be jealous at the best of times; but she takes it to a whole new level. After falling in love with writer Richard Harland, jealousy soon takes hold; as she becomes envious of his writing, his brother, her own sister and even a girl he went out with in college. The film follows the pair as her jealousy destroys the relationship. Vincent Price co-stars as Tierney's unfortunate (or fortunate) ex-lover, and although he doesn't make a big appearance in the movie; he makes an impression with the screen time he has.
The acting in Leave Her to Heaven is excellent throughout. Gene Tierney gives a powerful performance as the loathsome leading lady. Her understated evil brings just the right aura to the portrayal, and this role really shows her talent as a leading lady. Cornel Wilde's performance is the most downbeat of the film, and although he isn't bad; he doesn't particularly stand out among the rest of the cast. Vincent Price was often typecast as a snide 'gentleman' before he became a horror icon, and his performance here shows him doing that excellently, while hinting at his talent for playing evil characters. The support cast step into their roles nicely, and all give believable performances. The plot is generally well worked, with most of the action coming from their characters and their actions rather than a barrage of plot points. The film is shot in Technicolor, which makes it stand out from a lot of other pictures released around the time this was made. The atmosphere is constantly foreboding, especially early on as Tierney hints at a darker side to her character. I can recommend this movie to anyone who enjoys classics film.
The acting in Leave Her to Heaven is excellent throughout. Gene Tierney gives a powerful performance as the loathsome leading lady. Her understated evil brings just the right aura to the portrayal, and this role really shows her talent as a leading lady. Cornel Wilde's performance is the most downbeat of the film, and although he isn't bad; he doesn't particularly stand out among the rest of the cast. Vincent Price was often typecast as a snide 'gentleman' before he became a horror icon, and his performance here shows him doing that excellently, while hinting at his talent for playing evil characters. The support cast step into their roles nicely, and all give believable performances. The plot is generally well worked, with most of the action coming from their characters and their actions rather than a barrage of plot points. The film is shot in Technicolor, which makes it stand out from a lot of other pictures released around the time this was made. The atmosphere is constantly foreboding, especially early on as Tierney hints at a darker side to her character. I can recommend this movie to anyone who enjoys classics film.
Well based upon the novel by Ben Ames Williams, it deals with the gorgeous neurotic Gene Tierney who falls for love with writer Cornel Wilde , soon after , she breaks her former boyfriend : Vincent Price and they , eventually, get married. Then she takes drastic measures, at whatever cost , to keep husband all to herself and will do anything to get she wants .The sin she commiied in the name of love could not be judged by Man...or punished by Law ! . Hers was the deadliest of the seven sins.
A Noir melodrama concerning an "Amor Fou" drawing luridly on psychology , including intrigue , romance, tension and plot twists . This is a big picture that results to be the sum total of all human emotions, adding a twisted love story and killing . It packs impressive images as Gene Tierney roams the mountains and prairies on horse-back at dawn while throwing ashes her beloved father on ground . Gene Tierney is very good in a departure of her habitual characters, as the pathologically possessive creature who will stop at nothing to get her purports. While Cornel Wilde is nice as the good-tempered and good-natured writer who becomes involved in distresses. Support cast being frankly excellent, such as : Jeanne Crain, Vincent Price, Ray Collins, Chill Wills , Mary Philips , Gene Lockhart , Darryl Hickman , among others .
It contains a glamorous and luxurious cinematography in brilliant as well as exquisitely toned Technicolor by the magnificent cameraman Leon Shamroy. Shot on various locations in Sedona, Arizona, Granite Dells , Prescott, Arizona, Bass Lake, Monterrey, Pasadena, California, Maine, Wyoming, New Mexico. And sensitive and romantic musical score by Alfred Newman. The motion picture was compellinglly directed by Hollywood master John M. Stahl . He was a great director who made enjoyable and some classic films , such as : " Back Street" , "Only Yesterday", "Imitation of Life", "Magnificent Obsession", "The Eve of St Mark" , "Oh you Beautiful Doll", and this "Leave her to Heaven", among others . Rating 7.5/10. Better than average. Well worth watching . The picture will appeal to Gene Tierney and Cornel Wilde fans. Essential and indispensable seeing for romantic drama buffs and Film Noir fans.
A Noir melodrama concerning an "Amor Fou" drawing luridly on psychology , including intrigue , romance, tension and plot twists . This is a big picture that results to be the sum total of all human emotions, adding a twisted love story and killing . It packs impressive images as Gene Tierney roams the mountains and prairies on horse-back at dawn while throwing ashes her beloved father on ground . Gene Tierney is very good in a departure of her habitual characters, as the pathologically possessive creature who will stop at nothing to get her purports. While Cornel Wilde is nice as the good-tempered and good-natured writer who becomes involved in distresses. Support cast being frankly excellent, such as : Jeanne Crain, Vincent Price, Ray Collins, Chill Wills , Mary Philips , Gene Lockhart , Darryl Hickman , among others .
It contains a glamorous and luxurious cinematography in brilliant as well as exquisitely toned Technicolor by the magnificent cameraman Leon Shamroy. Shot on various locations in Sedona, Arizona, Granite Dells , Prescott, Arizona, Bass Lake, Monterrey, Pasadena, California, Maine, Wyoming, New Mexico. And sensitive and romantic musical score by Alfred Newman. The motion picture was compellinglly directed by Hollywood master John M. Stahl . He was a great director who made enjoyable and some classic films , such as : " Back Street" , "Only Yesterday", "Imitation of Life", "Magnificent Obsession", "The Eve of St Mark" , "Oh you Beautiful Doll", and this "Leave her to Heaven", among others . Rating 7.5/10. Better than average. Well worth watching . The picture will appeal to Gene Tierney and Cornel Wilde fans. Essential and indispensable seeing for romantic drama buffs and Film Noir fans.
This movie is like the Dickens line about, Best of, Worst of. There are elements that are the peak of 1945 film-making skill: cinematography, set decoration, costumes, use of technicolor, music scoring. And elements that are pure B movie-making: a shallow psycho-drama with mostly wooden glib performances. On the one hand, I imagined really talented, nuanced actors as I watched Gene Tierney and Cornel Wilde - on the calibre of Barbara Stanwyck and Kirk Douglas, who appeared that same year in a Warner Brothers noir film, Loves of Martha Ivers, and imagined it would have deepened the film. But it didn't help that film, and may not have helped a similarly melodramatic, histrionic film. At the same time, the uber- glamor movie-star quality of Tierney and Wilde added a Douglas Sirkian over-the-top quality to the film's gloss which somehow defines 40s glamor, like Lana Turner and John Garfield. I'm not sure it's a guilty pleasure for me, because I am drawn to Tierney's beauty but find her remote, and never quite suspend disbelief when I watch her act.
- HeathCliff-2
- Jan 20, 2010
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