Leonora Eames marries Smith Ohlrig, a man worth millions. But her dream becomes a nightmare once she realizes her husband is sadistically hell-bent on keeping her prisoner. When she falls pregnant, she and one of her doctors, Larry Quinada, fall in love. What will happen to Leonora?
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Un excellent mélodrame porté par une héroïne très intéressante. Les ellipses aident le récit à gagner en efficacité, en cruauté aussi. Le mari est un peu caricatural (une nouvelle fois, la psychanalyse permet de construire un peu trop rapidement le personnage, sans nuances), mais la femme et son patron offrent plusieurs scènes charmantes et déchirantes. Comme toujours, la mise en scène d'Ophuls est excellente.
Ophuls only made four films in Hollywood and this is the second of the four that I have seen recently which didn't quite live up to my expectations. Ryan is utterly loathsome as the millionaire who marries Bel Geddes just to spite his psychoanalyst. She turns to Mason's kindly doctor for salvation but can't escape her husband's hold on her. It starts off sombre and gripping but goes off the rails towards the end.....
Part of the noir kingdom, but also a vast, pulsating psychodrama, more Sirk than Chandler, where an everywoman is pushed into a position of sexuality, then, er, caught in a reality (call it mid-century America) where all she can choose is which sort of man will possess and define her. Layered, subversive, and over-the-top enough in its visual design that the melodrama feels natural. All the themes of Ophuls' career.
The third of four films Max Ophuls directed in Hollywood before his famous run of French masterpieces in the 50's, a pseudo-noir (lit beautifully by Lee Garmes) with Robert Ryan as a tyrant refusing to let his sweet wife (Barbara Bel Geddes) off the hook to marry skinny doctor James Mason. An Ophuls trademark, the moving camera is always mesmerizing, even if the plot resolution is less than overwhelming.