Well, close enough. At least the title rhymes.
Joan Crawford is playwright Myra Hudson. She has great independent wealth, but she likes the satisfaction of creating her written works and the appreciation and accolades that it brings her. Lester Blaine (Jack Palance) is auditioning for the lead in one of her plays when Myra uses her veto power because she just doesn't see him as the romantic type. Lester doesn't take this too well, and tells her off.
Later, on her way back to San Francisco, she sees Lester on the train home and ironically he woos her in a whirlwind courtship. Now there is something that happens before they get married that lets you know that Lester is manipulating her, but you can't be sure if it is because he truly loves her and wants her to feel like she is losing him or he just wants to marry a rich woman. It's door number two.
So the two have a romantic honeymoon, and Myra thinks everything is fine. For that matter, so does the audience. But a girl (Gloria Grahame as Irene) that Lester knew before he met Myra shows up at a party of Myra's as a date of one of her lawyers, Junior Kearney. It can't be a good sign when the perennial bad girl of the noirs shows up accidentally on purpose with Mannix as her date. If you are under sixty you likely have no idea who Mannix is, but I digress.
So it turns out Lester was a con man pre-Myra, but it looks like he is OK with just being the kept husband of a rich wife until Irene shows up looking for a piece of the action. The two resume their affair and soon they are planning to kill Myra.
How does Myra find this out? There is a clever plot device introduced earlier in the film that leaves no doubt as to what is going on in Myra's mind. But she is the only person who is witness to it. The two plan to kill her sometime during the next three days - that is when she is signing a new will. She is naturally revolted and terrified at what Lester is up to, but she is also a playwright, and so she conceives a cunning plan to murder the murderers first. So why didn't she just use her great wealth to, I dunno, take the train to Seattle and then contact her lawyer and divorce the guy? I guess because there would be no film?
Actually Myra's plan has a couple of huge plot holes in it which I won't divulge. But among the more long running of the plot holes is that if New York is the city that never sleeps, then in 1952, San Francisco is the city that is fast asleep at 10PM and also everybody is stone deaf after sundown. Mayberry didn't roll up their sidewalks as tight as Frisco in this film. If you want to see what I mean, watch and find out. The film is neatly divided into two parts. The part before Myra finds out what is going on and is chuck full of dialogue - the first 45 minutes. And then the last 45 minutes where Myra has discovered what is going on and is trying to keep from being killed. The second half is practically a silent film, but the tension never lets up.
There is really some good acting going on in this film, especially by leads Crawford and Palance. Very subtle in that you can tell what they are thinking by just their facial expressions and body language in many cases. Joan Crawford was unlucky to be tied to MGM for 17 years and only be free when MGM fired her in 1942. The studio really did put her in some dreck especially in the late 30s and then blamed her when things didn't pan out. Her1940s and 1950s work was in much better quality films and this is one of them. I highly recommend it.
