La dama desconocida

This isn't the best film noir but in a way it's quintessential in this way: I saw this years ago, and I have such a hazy memory that it's almost like I didn't see it... I think (?) It's the kind of movie I used to throw on really late at night like at 2 AM and I might watch all of it or some of it and then the rest the next day, and it has the kind of film noir plot and execution that it blends into many other film noirs. I don't mean to say that as a put down or to its detriment, but this fits so well into how this mood and feel work involving murder and a woman-who-wasn't-there (or seemingly never was) and a mystery to find the missing woman and all of the twists and turns therein.

It might be because it doesn't have the top shelf cast of some of the other movies of the period - there's no Barbara Stanwyck or Robert Mitchum or Edward G Robinson or Burt Lancaster or Glenn Ford or the list goes on - and yet I don't remember anyone here being so bad or off-putting that I had to turn it off or felt like I didn't get my VHS rental's worth. Siodmak's a quality director, and this is clearly the forerunner to what he would perfect with The Killers and Criss Cross. I'm sure I should see it again so I can solidify my opinion of it, but in a way I think it's fitting that it's half-forgotten - it's almost like the way that the characters find themselves in this story, a mystery to track down something buried away and not wanting to be found.

Or something.

Film students and fans of film noir always hear about PHANTOM LADY and now that I've seen it I'm inclined to report that it's overrated. Though the premise is initially intriguing, it quickly accumulates so many plot holes that you instantly figure out who the murderer is. But this is an exercise in style, not content. Director Robert Siodmak saved the film by giving visual distinction to a poor script.

His training in the German Expressionist style makes for very striking images thoughout despite the low budget: dramatic contrasts between light and dark with simple, strong lighting effects never fail to provide interest and tension. And he goes a long way in suggesting the ethnic and racial mix of New York City in 1944 by his offbeat choice of extras and supporting players, most of whom are not the types you see in movies of the time. And the set of sculptor Franchot Tone's apartment complete with furniture and busts would be the envy of many a Soho or Tribeca resident in 2004.

In the lead, Ella Raines looks rather like a poor man's Gene Tierney. She is attractive and likable and you have no trouble maintaining interest in her, but she doesn't have much acting range, at least at this point in her career. Franchot Tone does a very professional job in an impossibly sketchy and ludicrous part, and Thomas Gomez is okay as the detective. As the wronged man, Alan Curtis provides his own visual interest via a strong jaw and broad shoulders, and an occasional hint of surliness makes his character more interesting.

But as others have indicated here, the single most surprising and effective scene is one where horny drummer Elisha Cook, Jr. takes Ella Raines to an after hours dive to show her what he's made of. Equating jazz and especially drumming with hot sex, Siodmak cross cuts between Cook's orgasmic frenzy at the drums (complete with a closeup insert of his crotch) with Ella seemingly transported as well, giving him the come-on, urging him to climax. It's the most overtly sexual scene I've ever seen in a '40s film and it's one you shouldn't miss.

This is a strange little movie.......a film noir with some good performances and some not so good. You often see this film on lists of noir classics but it raises the inevitable question....is it a classic or does it have just too many faults to raise it to the level of winners like "DOA", "The Big Sleep" or "Night and the City".

The premise is fairly good. A man can't prove his whereabouts when his wife is murdered and can only describe his alibi as an unknown woman wearing a rather distinctive hat The story follows the hero's secretary and a sympathetic policeman as they try to prove his innocence. Alan Curtis is a disaster as a gloomy, rather unlikeable man who pretty much gives up trying to find the real killer and becomes resigned to his fate. He doesn't put up much of a fight and his attitude doesn't help much. The lovely Ella Raines portrays the secretary who gets herself into some uncomfortable situations, especially with Elisha Cooke Jr as the drummer man with the plan. Plenty has been said about the drumming scene which somehow sneaked by the censors. It has to be seen to be believed.......whew!!

Franchot Tone plays the hero's best friend and I am still trying to figure out if his playing of that part was really good or really bad. The answer is probably "really bad". The role is against type for him and he overdoes it. He does have a great apartment though!

Fay Helm, playing the woman with the hat, is strangely attractive and is just right for the "phantom lady". Thomas Gomez, as the friendly cop, does his usual good job. So is this film worth watching?......yes. It has some plot holes but overall it is enjoyable. Give it a try.

I'll admit that I like a certain degree of plausibility in films. Thus, it was hard for me to totally embrace this movie after watching the scene in which the husband (Alan Curtis) comes home to his darkened apartment and calls out for his wife, wondering where she is,unaware that detectives were there waiting for him. It was obvious that Curtis expected the wife to be home, not to mention alive, yet the detectives never took this into consideration. If you strangled your spouse, would you return home later and call out for her? Besides, who could have tipped off the detectives that a murder had occurred? OK, if you get by these sore spots, you'll find a well-made film noir that is worth watching.

Robert Siodmak does a fabulous job with this B noir starring Ella Raines, Franchot Tone, and Alan Curtis. And he does it, I might add, without a lot of help from his male actors, i.e., Curtis and Tone. It's Raines all the way, a pretty, leggy actress who for one reason or another never reached the status of some of her "noir" counterparts.

Siodmak's use of sex, light, shadows, and music is truly remarkable as he tackles this genre. The shadows, lighting effects, and camera angles are all effective. But the highlight of the film takes place in a nightclub with a very sexual drum riff by Elisha Cook, egged on by an excited Raines. It's this scene that brings "Phantom Lady" into new territory.

Siodmak's commitment to the material is matched only by Raines, who gives a sincere performance as a woman in love trying to save her man. Franchot Tone phoned this one in. Alan Curtis didn't seem upset that he might die and didn't seem happy that he lived. And he never, except for a brief moment in prison, seemed to be in love with Raines.

The amusing thing about many of these films is that, as World War II progressed, interest in psychiatry deepened. But often the terms were used incorrectly in films such as "Possessed," "Spellbound," and "The Greatest Show on Earth." Tone is called paranoid by Thomas Gomez - Tone probably has some paranoia attached to his disorder, but he appears to be closer to a psychopath. In actuality, as evidenced by his headaches, he may have had a brain tumor pushing against his brain.

Phantom Lady doesn't have the greatest plot, but it's well worth watching.