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Strange Impersonation

  • 1946
  • Approved
  • 1 घं 8 मि
IMDb रेटिंग
6.2/10
890
आपकी रेटिंग
Strange Impersonation (1946)
ड्रामाथ्रिलरफ़िल्म नोयर

अपनी भाषा में प्लॉट जोड़ेंA research scientist conducting experiments on a new anesthetic finds herself being blackmailed by a woman she accidentally knocked down with her car; the woman wasn't hurt, but a scheming a... सभी पढ़ेंA research scientist conducting experiments on a new anesthetic finds herself being blackmailed by a woman she accidentally knocked down with her car; the woman wasn't hurt, but a scheming attorney has convinced her she can get a lot of money for the "accident". Meanwhile, the sc... सभी पढ़ेंA research scientist conducting experiments on a new anesthetic finds herself being blackmailed by a woman she accidentally knocked down with her car; the woman wasn't hurt, but a scheming attorney has convinced her she can get a lot of money for the "accident". Meanwhile, the scientist's research assistant, who is in love with her boss' boyfriend, arranges for an exp... सभी पढ़ें

  • निर्देशक
    • Anthony Mann
  • लेखक
    • Mindret Lord
    • Anne Wigton
    • Lewis Herman
  • स्टार
    • Brenda Marshall
    • William Gargan
    • Hillary Brooke
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    6.2/10
    890
    आपकी रेटिंग
    • निर्देशक
      • Anthony Mann
    • लेखक
      • Mindret Lord
      • Anne Wigton
      • Lewis Herman
    • स्टार
      • Brenda Marshall
      • William Gargan
      • Hillary Brooke
    • 27यूज़र समीक्षाएं
    • 15आलोचक समीक्षाएं
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • फ़ोटो2

    पोस्टर देखें
    पोस्टर देखें

    टॉप कलाकार16

    बदलाव करें
    Brenda Marshall
    Brenda Marshall
    • Nora Goodrich
    William Gargan
    William Gargan
    • Dr. Stephen Lindstrom
    Hillary Brooke
    Hillary Brooke
    • Arline Cole
    George Chandler
    George Chandler
    • Jeremiah W. Rinse
    Ruth Ford
    Ruth Ford
    • Jane Karaski #1
    H.B. Warner
    H.B. Warner
    • Dr. Mansfield
    Lyle Talbot
    Lyle Talbot
    • Inspector Malloy
    Mary Treen
    Mary Treen
    • Talkative Nurse
    Cay Forester
    Cay Forester
    • Miss Roper
    • (as Cay Forrester)
    Dick Scott
    • Police Detective
    James Conaty
    • Doctor at Nora's Presentation
    • (बिना क्रेडिट के)
    Charles Ferguson
    • Man at Accident
    • (बिना क्रेडिट के)
    Frank O'Connor
    Frank O'Connor
    • Doctor at Nora's Presentation
    • (बिना क्रेडिट के)
    'Snub' Pollard
    'Snub' Pollard
    • Taxi Driver
    • (बिना क्रेडिट के)
    Hal Taggart
    • Suspicious Man at Airport
    • (बिना क्रेडिट के)
    Forrest Taylor
    Forrest Taylor
    • Nora's Doctor
    • (बिना क्रेडिट के)
    • निर्देशक
      • Anthony Mann
    • लेखक
      • Mindret Lord
      • Anne Wigton
      • Lewis Herman
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं27

    6.2890
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    फ़ीचर्ड समीक्षाएं

    7rfkeser

    Compact B-noir enlivened by Anthony Mann's direction

    "You cannot escape the person you are," says plastic surgeon H.B.Warner, holding up a bony finger. Nevertheless, leading lady Brenda Marshall tries, which puts her in the postwar vanguard of stars doing identity switches [see Bogart in DARK PASSAGE and Stanwyck in NO MAN OF HER OWN]. The script also stirs in elements from A WOMAN'S FACE, plus a dash of mad-scientist hubris, then shakes it into a film noir cocktail.

    Marshall plays a research chemist who tries an experimental anesthetic on herself ["nothing can go wrong"], but ends up disfigured, then takes on the identity of extortionist bad girl Ruth Ford. The switch involves several plastic surgery montages, but mostly results in a new coif, a dark rinse, and make-up adjustments.

    The plot also plays out the popular postwar subtext of Send-Rosie-the-Riveter-Back-to-the-Kitchen: when scientific professional Marshall turns down a marriage proposal in favor of finishing her own work, she suffers for it at the hands of scheming Hillary Brooke, and then has to fight to get another chance at that marriage ring. This conventional message is somewhat at war with the subversive noir style, but this script includes: the unsuspected hostile motives of a friend, the nightmare chain of events, and the police station third-degree. The novelty here is the woman protagonist, who herself shifts into a femme fatale. In fact, the film centers on a trio of femmes fatales: Marshall and Brooke and Ford. The man involved is William Gargan, relaxed and charming, so hardly an homme fatal.

    Republic's studio style-- aimed at simple feel-good entertainment, with invariably stodgy decor---was not exactly a natural home for noir. However, Anthony Mann delivers lean direction, with exceptionally fluid camerawork, some striking high and low angles, and smart playing from all [poor Marshall has to spend a good half-hour with her face wrapped up in bandages]. However, a few years later Mann worked out the situation-- two women tussling over a man--more pointedly, and with lots more shadows, in the superior RAW DEAL.
    dougdoepke

    Too Gimmicky

    Plot-- After restorative surgery, a disfigured research scientist tries to regain her former status under an assumed identity. And that's despite a scheming rival, an unethical lawyer, and a blackmailing vixen.

    About two-thirds of the way through and I was boggling at the implausibles. Okay, I'm usually pretty indulgent about these things; after all, Hollywood itself is pretty implausible. But then came the ending and all the stretches suddenly made weird sense. Not that this is a good film. It's just a programmer from cowboy-oriented Republic that RKO's noir unit might have made memorable. Then too, I agree with reviewer robert temple: why would two attractive women connive over a lump like William Gargan's Dr. Lindstrom. If there was a subtle point being made, I guess I missed it. Instead, it looks like a glaring piece of miscasting.

    What the 60-minutes does have is a fine central performance from Brenda Marshall as the afflicted Nora. But most of all, it's a chance for the Hillary Brooke fan club to watch a favorite spider women do her thing. Catch the way her eyes suddenly reveal a hidden inner demeanor. That subtle inner dimension is crucial here, but as the expert actress knows, not to be overdone. Yet, why is she missing from that final scene. Her presence there would seem required in order to complete the circuit with the pivotal earlier scene. But since when did Golden Age Hollywood compromise their blissful fade-outs, regardless of logic.

    Anyway, I expect a few years later with a more seasoned Anthony Mann and a more appropriate studio, the idea could have achieved genuine noir status.
    6JohnHowardReid

    Has so e good moments but loses track

    This early Anthony Mann film starts off most promisingly with tracking shots in the lecture theatre (of the Mindred Lord Institute yet!), mirror shots in the laboratory and a marvelous overhead shot of a flashing hotel neon sign and George Chandler sitting on a fire hydrant on the pavement below. After another wonderful mirror shot in Brenda Marshall's apartment, she and William Gargan walk on to the balcony and it is at this point that the film begins to fall apart. The script takes on the plotting and dialogue of some stupid dime-store novelette for mentally backward adolescents and the direction becomes astonishingly routine, with long, static takes and interminable close-ups and two-shots of the unattractive principals (even Hillary Brooke looks unattractive in the costumes, make-up and lighting of this film). The mirror motif is lost sight of altogether, until just before the plastic surgery sequence when the film comes to life for a few more moments (the table lamp lighting Marshall's face from below, the struggle, the escape, the surgery), wanes for a stretch, surges to life for a few more moments (the interrogation) and then is extinguished forever by a poor conclusion. Brenda Marshall brings little distinction to her dual role, Miss Brooke is not much better and Gargan is about as welcome as rain at a school picnic. The support cast, headed by George Chandler of all people, is more interesting.
    CatTales

    A film noir without the noir film

    This film literally illustrates that without expressionist shadows or dark, dreary streets, a film noir plot turns out more like a soap opera, no matter how dark the plot is. That doesn't take away from the nightmarish quality, however, as things go horribly wrong: betrayal, blackmail, disfigurement, murder. It is only because of this that the female lead becomes our heroine but her fairytale rebirth into beauty cannot erase her "guilt" of independence - as someone has already mentioned, the post-war message was encouraging women to return to the home. However, the film cannot indulge in grim fatalism either, preferring to be prescriptive rather than prohibitive, so it displays a 'whatif?' scenario, allowing for an upbeat ending. Philosophically it falls between the more contemporary sci-fi "Dark man," and the recent spanish fantasy "Open your eyes;" perhaps today these genres are the heirs of film noir.
    8Handlinghandel

    Fascinating Anthony Mann Film from Republic

    First off, I practically fainted at seeing a Republic Picture that didn't star John Wayne and wasn't one of their few big-budget movies. That studio turned out some excellent films and they are rarely seen. (This even though till about ten years ago our ABC affiliate showed one, sometimes two, every Saturday night.) The movie itself is not Mann at his best but it's very good. He's been given a fabulous cast. Brenda Marshall is a great favorite of mine. Ruth Ford did more on stage, maybe, than on screen. William Gargan was handsome before he moved into character roles. And Hillary Brooke! Wow, what a performance she turns in here! Lyle Talbot is also on board. He's somewhere between his days as a leading man and his time with Ed Wood. He looks a bit pudgy here.

    When we first meet the three principals, they're all wearing glasses. You see, they are scientists.

    In a parking garage on her way home from work, Marshall accidentally backs her car into the inebriated Ford. And that's all the plot I'm giving.

    Brooke is given a very meaty role. It seems like the typical best-friend part. She seems like a low-budget Eve Arden at first. But oh no! That changes. And she is up to every twist and turn of the plot.

    The movie is a little bit soap opera, a little bit noir. But it's both highly entertaining on its on and a must-see for fans of the great Anthony Mann.

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    6.3
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    5.4
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    6.1
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    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      Riffed for Rifftrax by Mystery Science Theater 3000 (1988) alumnae Mary Jo Pehl and Bridget Jones.
    • भाव

      Nora Goodrich: [after being groped passionately in her laboratory] Stephen, remember - science!

    • कनेक्शन
      Spoofed in RiffTrax Presents: Strange Impersonation (2020)

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 16 मार्च 1946 (यूनाइटेड स्टेट्स)
    • कंट्री ऑफ़ ओरिजिन
      • यूनाइटेड स्टेट्स
    • आधिकारिक साइटें
      • Streaming on "Bizarre Noir" YouTube Channel
      • Streaming on "Founding Film" YouTube Channel
    • भाषा
      • अंग्रेज़ी
    • इस रूप में भी जाना जाता है
      • Extraña representación
    • फ़िल्माने की जगहें
      • Republic Studios - 4024 Radford Avenue, North Hollywood, लॉस एंजेल्स, कैलिफोर्निया, संयुक्त राज्य अमेरिका(Studio)
    • उत्पादन कंपनी
      • W. Lee Wilder Productions
    • IMDbPro पर और कंपनी क्रेडिट देखें

    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      1 घंटा 8 मिनट
    • रंग
      • Black and White
    • पक्ष अनुपात
      • 1.37 : 1

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