My original review linked below was from a bootleg copy back in 2008.
Barbara Stanwyck was always at her best when her character came from the wrong side of the tracks. She seemed to have a natural affinity for those who lives have mostly been filled with hard times, scrapping by the best way they can. Maybe it had to do with her sad Brooklyn upbringing, her mother dying when she was four, pushed from a streetcar by a drunk, and her father leaving only weeks later, never heard from again. That kind of pain has to leave an indelible mark on one for life. Yet, beneath the tough exterior would hide a gentle desirous heart longing for acceptance that would eventually show itself.
This double side of Stanwyck’s persona is clearly on display in an early scene in the 1940 holiday comedy/drama, “Remember the Night,” when Fred MacMurray’s prosecuting Assistant District Attorney John Sargent arranges, through a legal technicality, to have Lee Leander’s (Barbara Stanwyck) trial for shoplifting postponed until after the holidays. This results in Lee, unable to post bail, having to spend the long holiday week in a jail cell. Sargent, in a twinge of guilt, or holiday spirit, arranges through a shady bondsman to have Lee’s five thousand dollars bail paid for. When the bondsman delivers Lee to the ADA’s apartment, she is cynical enough to have no doubt her payback to him will be in sexual favors. To her surprise ADA Sargent expects nothing in return. He really just did not want her to spend Christmas in jail. The look of surprise in Lee’s eyes and face is priceless when this realization hits her. Continue reading
“Kind Lady” is a 1951 remake of a 1935 film based on a play written by Edward Chodorov which itself was based on a story by English novelist Hugh Walpole. The story is involves an elderly woman and art collector (Ethel Barrymore) who meets a starving artist (Maurice Evans) and sociopath who charms his way, with the help of friends, into her house. Posing as her nephew he holds her prisoner in her own home convincing everyone the kind lady is mentally incapable of taking care of her own affairs. The film is a little loose in style rendering it less effective as a shocker than it could have been but it does have its share of good moments. Fine performances from Barrymore and Maurice Evans. Cast also includes Angela Lansbury, John Williams, Keenan Wynn and Betsy Blair. John Sturges, best known for his work on “Bad Day at Black Rock” and “The Magnificent Seven” directs. (***1/2) Continue reading
Released in 1950, the film stars Barbara Stanywck and John Lund, it was directed by Mitchell Leisen from a screenplay by Sally Benson and Catherine Turney, based on the novel “I Married a Dead Man” by Cornell Woolrich who wrote it under the pen name William Irish. This was the first of four film versions to have been made from the book. In 1983, there was “I Married a Shadow (Jai Espouse une Ombre) starring Natalie Byle. In 1996 came “Mrs. Winterbourne” with Ricky Lake and in 2001 a made for TV movie called “She’s No Angel” with Tracy Gold. By the way, do not get this film confused with the 1932 Clark Gable/Carole Lombard “No Man of Her Own,” the only thing they have in common is the title.
Helen Ferguson (Barbara Stanwyck), a woman with an immoral past finds herself pregnant and dumped by her low life lover Steve Morley (Lyle Bettger) for another dame. He slips Helen some money and a train ticket underneath the door of his apartment and tells her to get lost, go back home to San Francisco. Thus begins a series of events, wild as they are, that will change everyone.
On the train heading home Helen meets Hugh and Patrice Harkness (Richard Denning and Phyllis Thaxter) a newly married couple who are on their way to Hugh’s parents’ house in Illinois where Patrice will meet her in-laws for the first time. Like Helen, Patrice is also pregnant. Enroute, Helen and Patrice become chatty, sharing some bonding moments; Patrice even lets Helen try on her ring. Just at this moment, the train derails resulting in a deadly crash. Hugh and Patrice are killed while Helen is injured ending up in the hospital. With the ring still on her finger everyone in the hospital assumes she is Patrice Harkness. Helen, her life at a dead end, allows the misunderstanding to continue and soon finds herself lovingly welcomed into the home of Hugh’s parents. Hugh’s brother, Bill (John Lund) is immediately attracted to her but he is also a bit suspicious of her however, he says nothing. Though at first feeling guilty, Helen eventually settles into the middle class, middle America home as both she and the baby are warmly embraced by the Harkness family. Life is good until her former creep of a lover Steve resurfaces, seeing dollar signs, he has a scheme of his own.
“No Man of her Own” is a well-paced atmospheric tense noir and Barbara Stanwcyk gives another one of her effective performances with a strong female character. She is especially impressive during the marriage ceremony scene which is all part of Steve’s blackmail scheme. We here her in voice over telling us what she is thinking, yet if your watch her eyes, they reveal even more than what is said. The biggest problems with the film are a weak performance by John Lund who comes across as just plain bland and unexciting. Additionally, at forty-three years old, Barbara Stanwyck is a little too old for the role though, as I mentioned earlier, she gives her usual strong performance. Finally, I have not read the Woolrich novel on which the film is based however, from what I have read in doing research the book’s ending is much bleaker than the happy ending tacked on to the film. The darker ending would have made for a much stronger film than the obligatory happy studio ending.
A few words must be said for Lyle Bettger who is excellent as the totally despicable slimy Steve, Helen’s cold hearted blackmailing boyfriend. Bettger made a career in mostly “B” films and later on TV typically as a villain. Here he is effectively vile and loathsome, he makes you just want to take a shower and wash his slime out of your system.
If you ever read a biography on Billy Wilder you would come to believe Mitchell Leisen to be the worst director ever to sit behind a camera. Wilder claims Leisen ruined his scripts (“Midnight” and “Hold Back the Dawn”, both co-written by Charles Brackett) and this is what made him determined to become a director himself, to protect the written word. Preston Sturges also complained about Leisen cutting his scripts (“Easy Living” and “Remember the Night”). So are Leisen directed films that bad? Well, I have seen “Midnight” and it is a funny and smartly written and well directed film as is “Hold Back the Dawn.” As for the Sturges written “Remember the Night” it is a nice blend of romantic comedy with some dark drama and a Christmas season background. It also is a precursor to the reuniting Fred MacMurray and Barbara Stanwyck four years before Wilder’s “Double Indemnity.” Leisen’s films are always visually stylish thanks to his background in art direction and costumes. In his time he was a well-respected and versatile studio director, despite Wilder and Sturges thinking, who did well whether it was a romantic comedy, melodrama, or musical. He sometimes even mixed them together as he did with “No Man of Her Own”, a blending of woman’s melodrama with noirish overtones and doing it successfully. Other Leisen films include “Hands Across the Table”, “Swing Low, Swing High”, both with Carole Lombard and Fred MacMurray, “Arise My Love”, “I Wanted Wings” and “The Mating Season.”