A Ladra

Part psychological drama, part film-noir. The beautiful wife of the famous psychoanalyst Dr. William Sutton, gets caught stealing an expensive pin from a department store. The infamous astrologer David Korvo comes to her aide but for a price. Through hypnosis, Mrs. Ann Sutton will unconsciously become a party to an elaborate scheme involving murder. What's most interesting about this film is the relationship between psychology and astrology. Are they both pseudo-sciences? Psychological tricksters preying on the weaknesses inherent in the human psyche? Mrs. Sutton suffers from the condition Kleptomania, but is caught between the patriarchal righteousness of her husband, "Stay as you are, as you've always been - healthy and adorable" and the cold cynicism of Mr. Korvo, "A successful marriage is usually based on what a husband and wife don't know about each other." Both Dr. Sutton and Mr. Korvo are bright guys adept at exploiting human weakness in others (especially Ann's), but both fall prey to a shared weakness: wounded vanity. An interesting film that is well worth watching. Jose Ferrer as Korvo is a standout but Gene Tierney seems to have lost her fire and ends up sleepwalking through the film, even when she is not hypnotized.

One of the first things that struck me about Whirlpool is how good an actress Gene Tierney actually was. She does such a terrific job of portraying both the vulnerability and desperation of her character.

Set in Los Angeles, Whirlpool is an unassuming and unpretentious thriller that sort of fits the mold of noir. The movie certainly isn't the best example of the genre, but it does have many fine elements that, combined with Ms. Tierney's performance, make it eminently watchable.

Gene Tierney stars as Ann Sutton. Ann is the wealthy and respectable wife of successful psychiatrist Dr. William Sutton (a marvelous Richard Conte). The film opens as Ann is caught shoplifting a jeweled broach from a ritzy department store. The police and the store manager are determined to prosecute, but she gets off the hook thanks to David Korvo (Jose Ferrer), a mysterious hypnotist whom Ann employs to help her sleep.

Ann initially thinks that Korvo is out to blackmail her, and she offers him a large some of money to keep him quiet. Korvo, however, has another, far more furtive agenda. As he gradually builds Ann's trust, it soon is revealed that he has been having an affair with Sutton's former patient Theresa Randolph (Barbara O'Neil).

Shortly thereafter, Theresa turns up dead, and Ann is implicated as the murderer since she was found at the scene of the crime. Ann is arrested and charged with murder, but bitterly denies involvement telling her kindly husband that she just can't remember anything. So, who is the murderer? Surely it can't have been Korvo, as he was in the hospital during the time of Theresa's death.

It is left up to Lt. Colton (Charles Bickford) to use his detective skills and Dr. Sutton as the committed psychiatrist to break the hold that Korvo has on Ann and finally learn the truth behind the Theresa's murder.

Ferrer is terrific as the enigmatic Korvo. From the beginning it's plainly obvious that he's a sleazy, amoral confidence trickster, who is probably out to milk the Ann of her money and nothing happens to compromise his position. Richard Conte is also very good as Ann's concerned husband; he knows that his wife is not guilty but he's frustrated at the lack of inaction on behalf the local police to prove her innocence.

The issues of hypnotherapy, especially with the idea that hypnosis can make people do stuff they don't want to, is also interesting. Although, by today's standards it perhaps doesn't carry the kind of psychological weight and dramatic punch that it did back when the film was made.

Perhaps influenced by the wave of films during the period that utilized the growing field of hypnotherapy the picture might have seemed a bit fresher when it was first released. However, the Whirlpool is still fun to watch, especially for the lovely Gene Tierney who apparently used Whirlpool as a comeback after a two-year absence. Mike Leonard September 05.

Another complex, at times morally ambiguous film noir from Otto Preminger, engaging the services of top writer Ben Hecht and actors of the quality of Gene Tierney & Jose Ferrer to give it life. It's old ground of course for all of them, Preminger and Tierney had teamed up in "Laura" and, with Hecht were to do so again in the soon-come "Where the Sidewalk Ends" while Hecht had previously turned psychoanalysis to thrilling effect in Hitchcock's "Spellbound". There are certainly some typically subversive little Preminger / Hecht touches, I detect, of voyeurism and fetishism, running the film close, I would imagine, to the prevailing moral code of the day, which the former was to take on further in "The Moon Is Blue" and to some kind of apogee in "Anatomy Of A Murder" 10 years later. Look and listen closely here and you'll see the camera fading out a shot of Tierney's husband just about to disrobe his wife after she falls into a hypnotically induced deep-sleep and at another point the salacious quote addressed to Tierney by morally corrupt blackmailing hypnotist/astrologist (what a CV!) Ferrer about "undressing her scruples". I was even pulled up by the scenes of the blood-marks on the floor from Ferrer's character as something you didn't see everyday in the sanitised, Hollywood still coming to terms with the Communist witch-hunt in the post-war era. The playing is excellent, Tierney, who I've only just discovered as an actress (largely through watching old film-noirs!) is again radiantly beautiful as the ashamed kleptomaniac, desperate for a cure, but at the same time conveying her character's complexity and inner toughness as she finally breaks the hypnotic spell cast on her by Ferrer. For me, Ferrer steals the movie, making your skin crawl in every scene he plays once his perverted (in every sense of the word) designs become apparent. Their scenes together, where he can hardly conceal his lust for Tierney and desire to break up her happy home are electric and he also gets a lengthy scene where he hypnotises himself against the excruciating after-effects of his self-conducted gall-bladder operation. He completely convinces you of his strength of will over his physical pain to enable him to go after Tierney as she struggles to recover her amnesia which will of course expose his own guilt. The direction is taut, the cinematography excellent, the settings convincing and I also especially appreciated the excellent use of music to dramatise key scenes. Naturally there's a large degree of implausibility about just how Tierney finds herself under the control of such a toxic character and the denouement is perhaps more complicated and played out than it might be but this is still a highly intelligent, challenging piece of cinema, further pushing back the barriers of adult cinema in late 40's Hollywood.

This is well enough written and well enough directed and shot, Gene Tierney, Richard Conte and Jose Ferrer cannot be faulted and yet there is some a little lacking here. All begins well but I think Ferrer's character is just too horrid and as his role and control over Tierney is increased the fact that he is so unlikeable begins to work against the film. We should have a greater understanding why women fall for this piece of s*** and his confident use of hypnotism. So proficient is he that towards the end his mastery of self hypnosis rather stretches credibility too far. The role of the married woman, her perceived hysteria/mania and the wonders (or not) of hypnotism combine to drive this noirish movie more into what was once called 'a woman's picture'. It is still interesting and holds the attention, especially with regard to the shining performance of Tierney but could perhaps have been trimmed just a little.

An interesting and divisive film noir thriller directed by Otto Preminger and written by Ben Hecht (under the blacklist pseudonym Lester Barstow) and Andrew Solt. Adapted from the novel "Methinks the Lady" written by Guy Endore, the film Stars Gene Tierney, Richard Conte, José Ferrer, and Charles Bickford. Arthur C. Miller is the cinematographer and David Raksin, under the watchful eye of Alfred Newman, provides the music.

The plot sees Ann Sutton (Tierney), the wife of a successful psychoanalyst (Conte), arrested for shoplifting since she has some kleptomania issues. Just when it seems Ann is about to be thrust into a world of scandal, she is saved by smooth-talking hypnotist called David Korvo (Ferrer). Korvo, however, is not what he seems to be, and Ann soon finds herself involved in blackmail and murder and her marriage on the brink of collapse. Confused and emotionally torn, Ann is unsure whether or not she has committed a crime. It looks bleak unless her husband or the police can get to the bottom of the murky mystery.

Combining a psychological thriller core with overt melodramatics, Whirlpool has still to convince many of the film noir hoards as to its worth. Some critics find the concept of the story silly and hard to take, whilst others have gone a step further to suggest that Preminger and Hecht have merely remade Hitchcock's Gregory Peck starrer Spellbound (Hecht on screenplay duties there too) from four years earlier. Either way, and putting a noirish sheen on a Hitchcock movie is no bad thing by the way, Preminger's movie is a compelling little piece of cinema. The central theme of hypnosis as a weapon gives the film a dark edge and Preminger nicely portrays a world containing sympathetically flawed characters. While in the form of Ferrer's oily slick Korvo, film noir gets a most intriguing Mabuse/Freudian like villain of high entertainment value.

Tierney doesn't have to do much here, asked to portray confusion and a almost constant state of hypnotism, she delivers well enough whilst always remaining innocently sexy. Conte's woodenness as the husband oddly benefits the story, while also worthy of a mention is the ever watchable Charles Bickford as Lt. Colton, a thinking man's copper, Bickford keeps it serious as the daftness of the plot threatens to submerge and unhinge the drama.

Frowned upon by big hitting American critics, the film found support from notable Frenchies Rivette and Godard. It seems that like myself, they also liked the quirky and creepy nature of the beast. 7/10