The golden age of cinema is well epitomized in this strangely titled yet thoroughly absorbing film. The famous actors, the sets, the fashions, the score and the b&w filming are all surely homogeneous to the era and this film is artfully constructed but it is the time-shift and the tragedy at the heart of this stunning film that suggests why it is now considered a classic of the golden era.
Brazenly odd film with an opening that throws down the gauntlet at Dickens, then proceeds with a melange of melodrama and noir. The cast in particular is unlikely, and I'm left unsure how to feel about Heflin and Scott. Once again it seems there are no second acts in American lives, and industry in particular is built on the cunning of audacious individuals.
Filmin sonunda gördüğümüz Iverstown tabelası o denli fazla şeyi anlatıyor ki. Film boyunca gördüğümüz sınıf çelişkilerinin temeline inmemizi kolaylaştırıyor. Hollywood'tan çıkan en iyi kapitalizm eleştirilerinden birini bize sunuyor. Büyük şehirler, genişleyen ekonomiler, devasa fabrikalar ve bunların altında ezilen insanlar.
It sucked being a woman back then. "Go ahead and beat me, Sam. I deserve it". Men cannot express their emotions with words, so they use their fists. A man gets beat up, but shakes it off. It sucked being a man back then. If you weren't a bully then you were a coward. A man grabs what he wants, and the woman complies. It sucked being a woman back then. Of course some people still define themselves that way.
Stanwyck is at her most despicable in this well told film noir that finds her a rich factory owner married to the local D.A. when the one other man who may know how she got her fortune returns to town. Van Heflin and Stanwyck are reason enough to watch but you also get Kirk Douglas in his film debut in the kind of role he would never be known for...a patsy.