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
- लेखक
- स्टार
- Miss Roper
- (as Cay Forrester)
- Doctor at Nora's Presentation
- (बिना क्रेडिट के)
- Man at Accident
- (बिना क्रेडिट के)
- Doctor at Nora's Presentation
- (बिना क्रेडिट के)
- Taxi Driver
- (बिना क्रेडिट के)
- Suspicious Man at Airport
- (बिना क्रेडिट के)
- Nora's Doctor
- (बिना क्रेडिट के)
फ़ीचर्ड समीक्षाएं
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.
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.
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.
क्या आपको पता है
- भाव
Nora Goodrich: [after being groped passionately in her laboratory] Stephen, remember - science!
- कनेक्शनSpoofed in RiffTrax Presents: Strange Impersonation (2020)
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