Category Archives: Women in Peril

Saturday Afternoon: Men Doing Science Again….!!!

Four Sided Triangle (1953)

Four Sided Triangle

Based on the novel by William Temple and adapted to the screen and directed by Terence Fisher, this intriguing, thought provoking British sci-fi melodrama invokes the question of creation, playing god, obsession and fate.

Barbara Payton  (Bad Blonde 1953) plays both Lena and Helen a beautiful women caught between two friends who have adored her since they were children. The brilliant Bill (Stephen Murray) invents a duplication machine, and has pined for Lena since he and Bill used to vie for her affections playing knights with wooden swords. But Lena has always been in love with Robin (John Van Eyssen) the other friend that make up the love triangle.

After succeeding in duplicating watches and rabbits Bill wants to try a human subject. One in particular! Tinges of Lang’s Metropolis...

When Lena and Robin get married, Bill asks Lena to allow him to reproduce her in his contraption so he can possess her too. And Lena agrees… the results are disastrous. Co-starring James Hayter as the sympathetic Dr. Harvey.

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Frankenstein 70 (1958)

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Karloff still possesses that lyrical majesty and does the best job he can with this slightly meandering 50’s schlocky script, directed by noir, cult, television drama and big box office–producer/director Howard W. Koch and written by Richard H Landau who scripted The Quartermass Experiment 1955, The Girl in the Black Stockings 1957

As always Karloff’s presence makes any film a joy to watch. He always took his acting seriously and it shows here, which makes this odd little modernity meets old mad science horror flick with some interesting set design and chilling moments worth watching.

Karloff plays the last of the line of Frankensteins who desperately needs money in order to continue his arcane experiments on the reanimation of the monster, he has hidden beneath the family crypt in the Castle. The monster is kept bandaged through out the film, (saves on make-up) and becomes a lumbering bandaged plaster of Paris block head with two hollow holes for eyes. Is it effective or defective… well, I focused on Boris Karloff most of the time.

Frankenstein is now using atomic energy to resurrect his ancestors creation (the lab is actually very groovy Strickfaden would approve), but needs a few more things, like an atomic reactor, brains, eyeballs etc.

Baron Von Frankenstein whose face is badly scarred from the Nazi’s who tortured when he refused to experiment on their victims, allows a film maker and his crew to shoot their low budget horror picture on the grounds, finds their presence an immortal intrusion but he is broke and must put up with the nuisance.

But– the aggressive and meddlesome bunch uncover Dr. Frankenstein’s secret laboratory and it just gets chaotic from there…

Rudolph Anders plays the Baron’s confidante Wilhelm Gottfried, and Norbert Schiller plays the very simple butler Shuter… poor poor Shuter…

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The Mask of Fu Manchu 1932

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Directed by Charles Brabin and an uncredited Charles Vidor they offer this highly stylized horror/sci-fi-/fantasy hybrid from the 30s!

Boris Karloff is the diabolical genius Fu Manchu who only wishes to conquer the world with the help of his beautiful but equally nefarious daughter Fah Lo See played by the exquisite Myrna Loy.

Sir Nayland Smith of the British Secret Service played by Lewis Stone rushes to the Gobi Desert to find the mysterious mask and sword of Genghis Khan. He must get there before Fu Manchu possesses it’s power.

Fu Manchu kidnaps Sir Lionel Barton and tortures him in order to find out where the great treasures of Genghis Khan are buried in his lost tomb, but Barton refuses to tell…

Mean Sir Lionel’s daughter Sheila (Karen Morely) Sir Nayland Smith, Terrence Granville (Charles Starrett) and Von Berg (Jean Hersholt) set out to uncover the whereabouts of the relics before the evil menace can use them in his diabolical plan to conquer the world!

The Mask of Fu Manchu boasts the wonderful Kenneth Strickfaden designs!

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Your Ever Lovin’ MonsterGirl!


From The Vault-My Name is Julia Ross (1945)

MY NAME IS JULIA ROSS (1945)

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“I don’t know what this is all about, but I promise you some very serious trouble unless you stop it immediately. You know perfectly well I’m Julia Ross.”

Directed by Joseph H. Lewis  (The Mad Doctor of Market Street 1942, So Dark the Night 1946, Gun Crazy 1950, A Lady without Passport 1950, The Big Combo 1955) Screenplay by Muriel Roy Bolton from the novel The Woman in Red by Anthony Gilbert. With a fabulous odd angled, shadow stricken spin by cinematographer Burnett Guffey it’s no wonder this suspense thriller has the elements of a stylized psychological noir.  

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Nina Foch is Julia Ross a young English girl seeking employment. She answers an ad at a fake employment agency run by none other than Anita Sharp -Bolster as Sparkes who’s even more cantankerous in this role. Julia, saddened by the news that the guy she loves is marrying another girl, thinks she’s found the perfect job working for a wealthy widow Mrs. Hughes (Dame May Witty) who’s son, the creepy Ralph lives with her.

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George Macready is exceptional as a psychotic who is prone to fits of violence. He has already killed his wife, stabbing her to death and throwing her body into the quiet sea.

Ralph Hughes- {Looking out at the ocean] “Beautiful, isn’t it? Would you like to listen to the sea and hear what it says? It doesn’t say anything, does it? That’s what I like about the sea. It never tells its secrets, and it has many – very many secrets.”

Ralph has a thing for knives, and mommy Hughes has to keep taking sharp objects away from him and locking them away in a drawer. Dame May Witty is superb as his overprotective mother who is willing to concoct an elaborate scheme and even kill in order to cover up her son’s murder.

Ralph Hughes- “It’s all Marion’s fault. She shouldn’t have cried.”

Mrs Hughes- “Ralph, you never told me – was it an accident, or did you intend to kill her after she made her will?”

Ralph- “I didn’t plan it. I liked her well enough, but when she found out I’d been lying about my income, she accused me of marrying her for her money. I said of course that was what I’d married her for. Then she cried. She was always crying. Then she slapped me. I had my knife in my hand, and I…” [He begins slashing at the sofa cushion with his knife, slicing it over and over]

Mrs. Hughes- “Stop it, stop it!” (she tries to take the knife away)

Ralph- “Don’t do that!”

Mrs. Hughes- “Put that away! Ralph, I’m trying to help you.”

Ralph- “I still say we should have called the police and told them a prowler broke in and killed her.”

Mrs. Hughes- “With the marks of your fingers on her? The scratches on your face?”

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Julia goes to live at the house, but once she’s there, Mrs. Hughes, Ralph, and Sparkes drug her tea and spirit her off to the ocean village of Cornwall.

They’ve burned her clothes, stopped any means of communication from getting through, put bars on her windows and convinced the village that she’s out of her mind, so no one believes her story about being Julia Ross being held prisoner by these seemingly well bred murderous grifters.

There they gaslight Julia, telling her that she is the first Mrs Marion Hughes who has had a nervous breakdown. They’ve even convinced Alice the maid (Queenie Leonard) that she’s going mad, and that she’s suicidal. Alice gossips around town and soon after everyone even the police, the doctors and the reverend and his wife believe the Hughes’ story. It seems like there’s no escape for Julia in sight. Along the path to doom, Ralph torments Julia with his menacing presence, and every attempt Julia makes to escape is thwarted. .

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They plan on making it look like she’s committed suicide so they can bury her as Mrs, Hughes, since the real wife is lost at sea. And take her money

After it looks like Julia has taken an overdose of poison…

Ralph -“Why try to save her? Let her die. That’s what we want.”

Mrs. Hughes- “Don’t be stupid, Ralph. If she’s taken poison, we must act as though we cared!”

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noir angle

This is a very taut little suspense yarn that keeps you on the edge up until the end. With some extraordinary camera work and a very simple tale of murder, mistaken identity and mayhem!

Co-starring Ottola Nesmith as Mrs. Robinson, Joy Harrington as the resentfully sullen Bertha, Doris Lloyd is marvelous as Mrs. Mackie, Julia’s landlady, Roland Varno as Julia’s love interest Dennis Bruce, Olaf Hytten as Reverend Lewis and Leonard Mudie as Peters.

There are thousands of films in my collection, this has been one of them!-MonsterGirl


Women-in-Peril – 4 Obscure Gothic Thrillers of the 1940s!

As a treat I thought I’d talk about 4 really interesting films that were released amidst the slew of suspense thrillers of the 1940s. Some Gothic melodrama and a few perhaps conveying an almost hybrid sense of noir with their use of flashback, shadow, odd camera angles and elements of transgressive crime. I’ll just be giving a brief overview of the plot, but no worries there are no spoilers!

I recently had the chance to sit with each film and said to myself… Joey, these would make for a nice collection of obscure thrillers so without further adieu, I offer for your enjoyment, The Suspect, Love From A Stranger 1947, Moss Rose & The Sign of the Ram!

THE SUSPECT 1944

The Suspect

Directed by Robert Siodmak (The Spiral Staircase 1945, The Killers 1946, Criss Cross 1949, The Dark Mirror, Cry of the City, The File on Thelma Jordan 1950) and adapted to the screen by Bertram Millhauser and Arthur T Horman from the novel This Way Out written by James Ronald. Basing this film very loosely on the Dr. Hawley Harvey Crippen murder of his wife that was sensationalized at trial in 1910.

The Suspect stars the inimitable Charles Laughton, (Dr. Moreau – Island of Lost Souls 1932, my favorite Quasimodo in William Dieterle’s The Hunchback of Notre Dame 1939, the most lovable ghost Sir Simon in The Canterville Ghost 1944, The Paradine Case 1947, The Strange Door 1951, Witness for the Prosecution 1957, Spartacus 1960, Advise and Consent 1962 and notably–director of two films–his masterpiece Night of the Hunter and his uncredited The Man on the Eiffel Tower 1949)

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The film also stars the underrated Ella Raines (Phantom Lady 1944, Impact 1949) Dean Harens, Stanley Ridges, (Possessed 1949, The File on Thelma Jordan and No Way Out 1950) Henry Daniell , Rosalind Ivan and Molly Lamont (The Dark Corner 1946, Devil Bat’s Daughter 1946) Raymond Severn plays the delicious little urchin Merridew who works for Phillip as he tries to keep the little guy on the straight and narrow. Merridew would make the perfect name for a little tabby cat!

Charles Laughton gives one of his most subtle performances as a kindly man trapped by an abusive wife. Siodmak as usual creates a dynamic framework for this psychological thriller that is lensed in shades of darkly ominous spaces that seems to shape itself around Laugton’s comfortable face and Ella Raines intricate beauty.

from IMDb trivia – Lux Radio Theater broadcast a 60 minute radio adaptation of the movie on April 9, 1945 with Charles Laughton, Ella Raines and Rosalind Ivan reprising their film roles.

Music by Frank Skinner (Blond Alibi 1946, Johnny Stool Pigeon, The Brute Man, The Spider Woman Strikes back and way more to his credit see IMDb listing) With cinematography by Paul Ivano. Who did the camera work on director Hugo Haas treasures like Strange Fascination 1952, One Girl’s Confession 1953, Hold Back Tomorrow 1955!

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And marvelous gowns and hats by Vera West. (The Wolf Man 1941, Shadow of a Doubt 1943,Flesh and Fantasy 1943, Son of Dracula & The Mad Ghoul 1943, Phantom Lady 1944,Strange Confession 1944, Murder in the Blue Room ’44, House of Frankenstein ’44, The Woman in Green 1945, Terror by Night 1946, The Cat Creeps, She-Wolf of London, Dressed to Kill, Danger Woman & Slightly Scandalous 1946.)

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In 1902 London, well respected middle class Englishman, but unhappily married shopkeeper Phillip Marshall (Charles Laughton) develops a loving and warm friendship with young and beautiful Mary Gray (Ella Raines) who’s father has recently died, leaving her down on her luck and looking for a job. Phillip Marshall is such a kind and genteel man he stops to say a kind word about his neighbor Mrs Simmon’s garden, loves his son and shows real affection. Is like a father to young Merridew. Is beloved by the community. Even when he approaches Mary, and she hasn’t yet looked up from her tear soaked hanky, thinking she’s being approached by a lecherous man in the park, “I’m not that sort” tells her, only wanting to see if she needs help.

Mary like Phillip is lonely… the first night Phillip begins to walk her home- “A cup of tea, a six penny novel and a good cry.”
Mary- “I’m afraid you’ve been looking in my window.”

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Phillip’s dreadful wife Cora (Rosalind Ivan -perfectly suited to play the emasculating harpy-she had a similar role tormenting Edward G Robinson in Scarlet Street 1945) is a reprehensible shrew who humiliates and demeans both her husband and her son (Dean Harens who had more room to act in Siodmak’s terrific noir Christmas Holiday 1944 starring a very different kind of Gene Kelly and the self-persecuting Deanna Durbin.) John is shown moving out of the house, because his horrible mother has burned some important papers of his. She got into one of her rages and before he could stop her she burned a whole weeks work.

Cora Marshall is vicious and cruel, showing no maternal feeling, caring little that her son is leaving home.

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Cora-“That’s just what young hopeful did, he’s clearing out bag and baggage that selfish ungrateful good for nothing.”
Phillip-“What did you do to him?”
Cora- “What did I do to him… that’s right put the blame on me. All I did was bring him into the world, nurse him, make myself a doormat for him to walk on!… Go on, go to him and tell him from me that when he leaves this house needn’t think he can come crawling back. Deserting his own mother!… And what do you think you’re doing now?”
Phillip- “I’m moving into John’s room.”
Cora- “Of all the indecent…we’re married aren’t we?”
Phillip (deep sigh)- “Oh we’re married all right.”
Cora -“Then how dare you! I forbid it do you hear me. I forbid you to treat me like this.”

Phillip says, “Now Cora that’s all over now that John’s gone. It’s all over and done with, do you understand me?… I’m moving out of here and there’s nothing you can do about it”
Cora- “Oh yes there is. There’s plenty I can do!”

They wrestle with his clean folded white shirts that he’s busying himself moving out of the bedroom. She tries to grab them and he finally loses his composure and yanks them away.

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Cora- “What’s got into you.. I’d like to know what’s going on in your head.”

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Phillip- “It’s much better that you shouldn’t Cora, it might frighten you…”

Saddened by his John’s departure who he loves and will miss, prompts Phillip to move into his son’s room. Cora, so bent on appearances is driven to tirades of abusiveness toward the meek and genteel Phillip. Harassing him at every turn. I might have thrown her down the stairs myself or given her one of those late night glasses of milk!

The scene with Merridew just tickles me and shows how kind, compassionate and caring Phillip is. He calls Merridew over talking to him in a quite earnest and fatherly tone, all the while you can tell he’s quite fond of the little fellow and visa versa.

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Phillip- “Merridew I have to bring a very serious matter to your attention- I regret to say there’s a shortage in your accounts-there’s a penny missing from the stamp box.”
Merridew- “It… it was for a sugar bun this morning but I’ll put it back on pay day honest Mr. Marshall”
Phillip- “And the tuppence the day before yesterday what was that for?”
Merridew- “Acid drops sir.”
Phillip- “Acid drops??? quizzically… that’s very serious. And the hay penny the day before?”
Merridew- “For the monkey with the hurdy gurdy but I’ll put it all back Saturday every last farthing. “
Phillip- “That’s what all embezzlers plan to do.”

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tears in Merridew’s voice make it quiver as the camera shows Mary listening in, she smiles and laughs at this whimsical inquisition.

Merridew- “But I’m not an embezzler.”

Phillip- “Yes, but you can get started that way. It’s the first step that counts… after that it all becomes too easy. Six pence tomorrow, half a crown the day after… then a five pound note… I know you’ll always mean to pay it back, but I’m afraid you’ll finish by paying it back in the Portland quarries”

Merridew- “Don’t send me to no quarries please Mr. Marshall (sniffling)”

Phillip- “Well not this time Merridew. Now stop sniffling and wipe your eyes.” he hands him a hanky.

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Mary has come into the shop looking for employment. When Phillip tells her there isn’t a position available he later finds her on a park bench crying. He takes her to dinner, gets her a job with a colleague and the two begin a very tender friendship.

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Phillip continues his platonic relationship with Mary, but once his wife finds out that he’s been seen supping with the young lady, he breaks it off, as he’s a gentleman who truly thought his wife would want out of a loveless marriage.

Still, Cora threatens him with scandal as well as making trouble for Mary. When Cora refuses to divorce him, worried that gossip will spread that she has failed to hold onto a husband, he is driven to the point of frustration and despair. She tells him the neighbors are all beginning to gossip about him coming in at all hours-

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Phillip- “None of that business Cora.”

Cora- “Ha! Married people’s lives is everyone’s business and I’m not going to be made of object of pity in front of my friends do you hear!I wonder what ever possessed me to tie myself up with a poor stink like you… walked through the forest and picked a crooked tree that’s what I did. A crooked fat ugly tree.”

Even after she’s been so cruel, he tries to reason with her about getting a divorce and face things honestly by admitting that they’ve never been happy together. He asks her to let him go. But she wants to punish him, because she is a bitter and cruel woman calling him immoral and indecent.

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Phillip is very decent in fact, even though there’s only been friendship between he and Mary, he breaks it off with her so as to do what’s expected of him telling Mary that he behaved badly but he was afraid that she wouldn’t want to see him again. He was sure Cora would let him go… Phillip tells Mary , “And I couldn’t let you go once I’d met you.”

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But Cora won’t be happy til she “drives them both ‘into the gutter where you belong!”

Laughton is adorable and wonderfully believable as a romantic figure because of his gentle nature.

His murderous response is more to protect Mary from Cora’s wrath, who tells him with a face like a Victorian harridan spewing a poisonous vitriol-

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“You better be afraid. As sure as the sun rises tomorrow, I’ll give her the Merry Christmas she’ll never forget”

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Paul Ivano’s brilliant camera angle frames Laughton as somewhat diminished, seemingly trapped or rather oppressed by the space around him.

And so, Phillip murders his wife. We see him grab one of his canes and assume though we don’t see him actually bashing her head in with it, that he has in fact brained her. The next morning she is found dead at the bottom of the stairs, and it is deemed an accident.

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Added to the plot’s layering of Sturm & Drang is the always wonderful scoundrel in Henry Daniell’s Gilbert Simmons, Phillip’s neighbor a stumbling drunkard who also beats his wife (Molly Lamont) Mrs Simmons and Phillip also have a very sweet relationship, one that ultimately anchors Phillip to his integrity. But I won’t reveal the outcome of the story. The miserable Gilbert Simmons also has the distinction of turning to blackmail adding to his other earthly vices.

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Amidst all these dreary, grim and dark ideas, the film still emerges as a beautiful story, partly due to Siodmak’s ability to guide suspense along it’s way with an appealing cadence. As Foster Hirsch states in his must read Film Noir-The Dark Side of the Screen, “Siodmak films like Christmas Holiday and The Killers have an extremely intricate narrative development…{…} the relative extremeness of Siodmak’s style is reflected in his obsessive characters.”

The Suspect works as a great piece of Melo-Noir mostly due to Laughton’s absolute perfection as the sympathetic, trapped gentle-man. As always he is masterful with his intonations, sharpened wit and ability to induce fellowship with the characters he’s playing… well maybe not so much with Dr. Moreau, Capt. Bligh, Judge Lord Thomas Horfield or Sire Alaine de Maledroit in The Strange Door. But he’s a lovable sort most of the time, one can’t deny.

The Canterville Ghost-Margaret O'Brien & Charles Laughton

Charles Laughton and Margaret O’Brien in Jules Dassins’ The Canterville Ghost 1944-based on the story by Oscar Wilde

Ella Raines is just delightful as Mary. She’s such a treat to watch as you start to believe that this beautiful young woman genuinely has fallen for this older, portly yet kind hearted misfit. You find yourself hoping that he gets away with his wife’s murder, and that the two find happiness together.

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Scotland Yard Inspector Huxley (Stanley Ridges) stalks Phillip Marshall believing he killed his wife

Phillip is staunchly pursued by a Scotland Yard Inspector Huxley (Stanley Ridges) who has the tenacity of Columbo. Speaking of which, a poster of The Suspect appears in an episode of Columbo- “How to Dial a Murder” in 1978.

LOVE FROM A STRANGER 1947

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On the darker more sinister side of these suspense yarns we find Sylvia Sidney as Cecily Harrington at the mercy of a very deranged bluebeard in John Hodiak as Manuel Cortez.

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the exquisite beauty of Sylvia Sidney

Sylvia Sidney Love From a Stranger

Directed by Richard Whorf who became more fluent in directing for television. Written for the screen by Philip MacDonald (Rebecca 1940, The Body Snatcher 1945 for Val Lewton, The Dark Past 1948, Boris Karloff’s Thriller episode The Fingers of Fear 1961, The List of Adrian Messenger 1963) based on Agatha Christie’s short story Philomel Cottage. Hair Stylist Eunice Helene King is responsible for slicking back Hodiak’s swarthy and murderously Lothario hair, he’s almost Draculian. He definitely covets his slickety hair as he shows his first sign of deranged pathology when Cecily tries to stokes his hair and he lashes out at her, telling her not to touch it.

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The marvelous costumes equip with capes, sequins and ostrich feathers are by Michael Woulfe (Blood on the Sun 1945, Macao 1952, Beware, My Lovely 1952)

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Isobel Elsom plays Auntie Loo Loo with her usual exuberance, Ann Richards is the faithful friend Mavis Wilson. Anita Sharp-Bolster as Ethel the maid (wonderfully crabby Christine in The Two Mrs Carrolls)

And again a terrific score by Hans J. Salter. This period piece is lavishly framed by Tony Gaudio (The Letter 1940, High Sierra 1941, The Man Who Came to Dinner 1942) Once the protagonist and her murderous husband honeymoon at their hideaway cottage, the lens turns the film into an almost chamber piece, becoming more claustrophobic as Manuel and Cecily begin to awaken into the revelation of his dangerous nature.

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Sylvia Sidney  plays Cecily Harrington, an unassuming English girl in Liverpool who has just won £50,000 in the Calcutta Sweepstakes which was a fortune in turn of the century England. Cecily meets Manuel Cortez (John Hodiak) when he sees her name in the newspaper next to the headline of his latest murder. He follows her then arranges to make it appear as if he’s looking to rent her flat. She is taken with this mysterious stranger and suddenly breaks off her engagement to her fiancee Nigel Lawrence (John Howard) rushing into marriage with the mysterious stranger who turns out to be a Bluebeard who is after her money.

The swarthy Manuel Cortez has already alluded the police for the murder of three women, believed to have drowned while trying to escape he has changed his appearance, darker hair no beard. Dr Gribble (Philip Tonge) who is a crime connoisseur collects journals and books, one with a drawing of him showing his beard. It also mentions his earlier crime as being in South America and New York (Hodiak’s character is given several Spanish aliases-Pedro Ferrara and Vasco Carrera)

The newlyweds spend the summer at their secret honeymoon cottage where he’s been planning to kill her and bury her body down in the cellar.

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Isobel Elsom plays Auntie Loo Loo with her usual exuberance, Ann Richards is the faithful friend Mavis Wilson.

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Manuel Cortez pretends to be looking for a flat to rent, showing up at Cecily’s door he has actually followed her from their ‘accidental’ meeting at the post

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Cortez begins to work his Bluebeard charms on Cecily

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The handsome John Howard as Cecily’s fiancee Nigel Lawrence is crushed to find her love has gone cold, as she is now entranced by the swarthy Manuel Cortez

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Neither Nigel nor Mavis trust this mysterious stranger with the slickety hair and cape

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Everyone around Cecily knows there’s something not quite right

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Auntie Loo Loo is surprised at her nieces impetuous behavior

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Ethel and billings the gardener greet the newlyweds at the cottage they’ve spirited off to.

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There’s a dark cellar with a lock on the door. That never bodes well!

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Digging the hole!

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which poisons to use, decisions decisions

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Manuel warns Cecily to stay away from his experiments in the cellar

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Auntie Loo Loo and Mavis manage to find out where the honeymoon cottage is and pay Cecily a visit to make sure she’s alright

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The couple are going away on a long voyage soon, though Manuel hasn’t shown her the tickets

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Auntie Loo Loo is worried!

Dr Gribble

Dr Gribble- Walking over to the book shelf- “Ah criminology are you interested in criminology Mr Cortez?”
Cortez- “Yes, it’s a sort of hobby of mine doctor.”
Dr Gribble- “Well we’re fellow enthusiasts”
Cecily “Yes I think it’s a horrid morbid past time.”
Dr Gribble “But fascinating Mrs Cortez. Here’s a great favorite of mine. Criminals and their mentality. That’s great psychology… Bless my soul the latest journal of Medical Jurisprudence and the Criminal. I should have thought I was the only person within a hundred miles radius who ever so much as heard of this publication.”
Manuel Cortez-“Really I’ve subscribed to it for years”
Dr Gribble “Let’s see did I read this issue? Ah yes this is the one with the account of that South American Carrera. It’s a very interesting case.”
Manuel Cortez- “I don’t believe I’ve read it.”
Dr Gribble- “You should have. This fellow Carrera was a professional wife murderer. They caught him after he completed his third crime. Then he was drowned trying to escape.”
Manuel Cortez- “Oh yes I remember. They never found the body did they?”
Dr Gribble- “No as a matter of fact they didn’t. I don’t think there’s any real doubt he’s dead!”

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Manuel catches Cecily by the cellar door. Look his hair has finally lost control!

Love From A Stranger is perhaps the more melodramatic and Gothic of all these films I’ve talked about in this post, but perhaps the most unrewarding in terms of it’s depth. While there are some truly terrifying scenes, the queer chemistry between Sidney and Hodiak creates a distance from the narrative. It’s still truly worth watching as part of the canon of 40s suspense melodramas.

Sylvia Sidney has a certain edgy sensuality to her, that doesn’t make her performance thoroughly implausible for the story but perhaps a different actress might have brought another style of vulnerability to the role. And Hodiak has an unctuous, gritty sort of sex appeal, that made his part as a psychopath believable. He’s got intensely dark focused eyes, sharply defined features and an iron jawline that slams shut, when he’s internally scheming. Toward the end he brings it a bit over the top, but he’s sort of good at playing a surly mad dog.

CapturFiles_40 He posed as a great world traveler women even those from a cultured background succumbed very quickly to his perculiar charms

Told to read aloud from the journal of criminology- “There is no doubt at all that Vasco Carrera the last name he was known by is a truly remarkable character. He posed as a great world traveler women even those from a cultured background succumbed very quickly to his perculiar charms
possessed of a remarkable charm of manner Carrera exerted an extraordinary fascination over women”

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YOU AND ME 1938-Sidney, Sylvia and George Raft

YOU AND ME 1938-Sidney, Sylvia and George Raft- Now that’s chemistry!

Perhaps the one issue I have with the casting is the chemistry between Sidney and Hodiak that never truly rings authentic. He’s too internally frenetic to be romantic… mysterious yes, but he’s not convincing in his wooing of Cecily. And the character of Cecily doesn’t seem to have the layers that peel innocence away, unveiling a vulnerable yet eruptive sensuality that would be unconsciously drawn to the scent of a dangerous man. That’s why Ingrid Bergman in Gaslight and Joan Bennett in Fritz Lang’s Secret Beyond the Door 1947 work so well.

John Hodiak is a puzzle for me. I’ve been trying to decide whether he’s one of the most intriguingly sexy men I’ve come across in a while or if I find him completely cold and waxen in his delivery as a leading man.

Hodiak and Bankhead in Lifeboat

John Hodiak and Tallulah Bankhead in Alfred Hitchcock’s marvelous floating chamber piece Lifeboat 1944

He had me going in Hitchcock’s Lifeboat 1944. I would have thrown my diamond Cartier bracelet over the bow to tumble under the tarp for a few hours with that sun kissed, salt sprayed crude adonis, sweaty, brash, unshaven -the whole deal. Just watched him in Somewhere in the Night 1946, once again, found Hodiak’s character of George Taylor compelling in his odd way of conveying vulnerable but faithful to the lure of the noir machismo. I felt sorry for a guy who can’t remember who he is or if he should just stay forgetting- in case he was a rotten human being.

But as the cunning and psychopathic lady killer in Love From A Stranger, he sort of makes my skin crawl which I supposed means he did a fabulous job of inhabiting the role of Manuel Cortez right.. Maybe he would have had better chemistry with someone like Alexis Smith or Audrey Dalton.

Now, I haven’t yet seen Basil Rathbone’s version in director Rowland V Lee’s 1937  film also known as A Night of Terror with Ann Harding -still based on the short story by Agatha Christie but set in contemporary England, Rathbone plays the intrepid type of urbane gentleman who sweeps Ann Harding off her feet and plunges her into a sudden and dangerous marriage. Where he then plots to killer her and take her money. In the earlier version, the heroine too gradually realizes that she’s in danger…

Rathbone and Harding

Basil Rathbone and Ann Harding in the 1937 version of Love From a Stranger

Sylvia Sidney looks stunning as the new bride who begins to notice the strange behavior of her husband and realizes once she goes down into the cellar that Manuel is hiding something. He spends hours locked away down there preparing for the moment he will kill Cecily and has forbidden her to go down there, claiming that he’s doing experiments which are dangerous. Well that’s true, since he’s mixing poisons and digging her grave.

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This version places it back in Victorian England, perhaps due to the success of the melodramatic thrillers that were proving to be so successful in the 40s like, Rebecca, Gaslight, The Lodger, Hangover Square, The Woman in White, Fritz Lang’s The Secret Beyond the Door 1947, The Two Mrs Carrolls 1947.

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