One of the greatest noirs. Perhaps I have a soft spot for this one because it was one of the first noirs I saw, but I still consider it a truly great film. The introduction of Lana Turner's Cora is still sensual perfection and John Garfield proves why he was one of the finest actors of the 1940s.
A pretty satisfying film noir despite the cornball ending and misogyny - not so much in the actual film even but more in reactions calling her "cheap, pure evil", when wtf she was the most sympathetic character? (which since she's probably not meant to be could be chalked up to uneven directing or poor characterization or just my own aversion to controlling older men and leering bums with no concept of boundaries).
Lana Turner (both cold, vulnerable and calculating as she married for money) is one of the essential femme fatales in one of the most complete and most influential film noirs ever made. How the passion, plan and murder is carried out is realistically portrayed and it got great photography and plot twists. Hume Cronyn has a small but scene-stealing performance too.
Gilda Munson, Cora Smith: 1946 was the year when the advertised Femme Fatale turned out to be the sympathetic character. The screenplay is not perfect (the Mexican and blackmail subplots, the un-noirish "God The Postman" finale), but Lana Turner is unforgettable. Now I need to check other versions like "Ossessione" and "Le Dernier Tournant".
Sur le thème de la passion fatale et mortelle menant deux êtres au crime sordide, Tay Garnett nous livre un excellent film "noir", souvent cité en référence, et qui retraduit fort bien l'atmosphère désespérée de la plupart des bouquins du romancier. www.cinefiches.com
Película que camina por el cine negro. La presencia de la femme fatale que se asoma para provocar ese lado oscuro de un hombre "sin ataduras" creará un conflicto aún mayor. La historia cierra una fase y se abre con una nueva generando nuevos conflictos, aparentmente independientes, pero que son consecuencias del origen de una relación/pacto. Lo que me sorprende es ese final que reivindica a su protagonista principal.
Layer upon layer of manipulations. Hume Cronyn reinvigorates the movie toward the end after it has begun to sag under it's own accumulated weight a bit. There's a very effective, stomach churning shot of a car careening down a cliff partway through. Caught me a bit off-guard, that did.