IMDb RATING
7.4/10
3.2K
YOUR RATING
A pregnant woman adopts the identity of a railroad-crash victim and starts a new life with the woman's wealthy in-laws, but is soon blackmailed by her devious ex.A pregnant woman adopts the identity of a railroad-crash victim and starts a new life with the woman's wealthy in-laws, but is soon blackmailed by her devious ex.A pregnant woman adopts the identity of a railroad-crash victim and starts a new life with the woman's wealthy in-laws, but is soon blackmailed by her devious ex.
- Awards
- 1 win total
Jean Andren
- Louise Russell
- (uncredited)
Georgia Backus
- Nurse
- (uncredited)
Virginia Brissac
- Justice of the Peace's Wife
- (uncredited)
Ivan Browning
- Porter
- (uncredited)
Ashley Cowan
- Justice of the Peace's Son
- (uncredited)
Featured reviews
Barbara shines as the deceiving wife and does so much with her eyes. Jane and John are also very good. Strong script and not too overly sentimentalized for its era. A very enjoyable soaper with a great supporting cast. Gee, I miss all those great bit players of the thirties and forties. They added so much sparkle and credibility and a type of reassurance not seen in today's movies. Bravo to the entire cast in this little gem.
A case of mistake identity turns into a grand deception as a new mother tries to secure a better life for her child. The premise is similar to THE HOUSE ON TELEGRAPH HILL (minus the concentration camp angle, of course). A bit predictable and a bit far-fetched, but Stanwyck's performance sells it completely, and Leisen shows a dedication to the material, bringing what might have been a rather hokey women's weepie to life. The drama is compelling from start to finish, with measured pacing and excellent camera-work. The situation keeps ratcheting up to a tense climax. Lyle Bettger is pretty great as the slimy antagonist, as is Jane Cowl as the benevolent grand dame of the household (John Lund once again comes off rather bland). If the ending seems a bit too convenient, at least it provides for a really satisfying callback.
I love this film. I first saw it when I was 10 and always remembered the story and feel of it. This is wonderful noir, with the kind of plot that keeps one enthralled until the final frame.
All the performers deliver: Stanwyck moves from a tragic character with little hope, through loss, the turmoil of deceit to happiness. This was a strong performance for her; John Lund perfectly portrays a man in conflict. Jane Cowl and Catherine Craig are almost a perfect sparing pair as the mother and the maid, their sarcasm to each other provides the humour scattered through the film.
The atmosphere and mood of the latter part of this film is perfectly captured in black and white. It makes you realize the role shooting a film in black and white played in this genre.
If you have not seen this film, do yourself a favour AND SEE IT.
All the performers deliver: Stanwyck moves from a tragic character with little hope, through loss, the turmoil of deceit to happiness. This was a strong performance for her; John Lund perfectly portrays a man in conflict. Jane Cowl and Catherine Craig are almost a perfect sparing pair as the mother and the maid, their sarcasm to each other provides the humour scattered through the film.
The atmosphere and mood of the latter part of this film is perfectly captured in black and white. It makes you realize the role shooting a film in black and white played in this genre.
If you have not seen this film, do yourself a favour AND SEE IT.
Leave it to Barbara Stanwyck and John Lund to make this film noir soap opera work on every level. Stanwyck, pregnant and unwed, meets another woman and her husband on a train, a wealthy woman going home to see her family. When the train is wrecked and the woman and husband killed, Stanwyck assumes her identity since the man's parents have never met her nor even seen a photograph of her. The plot gets thicker once Stanwyck assumes the dead woman's identity.
The picture combines the suspense of a film noir with some soap opera touches but Barbara's strong performance makes it all work. John Lund, Jane Cowl, Phyllis Thaxter, Richard Denning and Lyle Bettger are all fine in support. It's all based on a Cornell Woolrich novel called "I Married A Dead Man" with the usual touches of irony found in his work.
It's one of director Mitchell Leisen's better films (he did "To Each His Own", "Hold Back the Dawn", and many other interesting films.) Absorbing and well worth watching. Not a well-known film but it's one of Stanwyck's best.
The picture combines the suspense of a film noir with some soap opera touches but Barbara's strong performance makes it all work. John Lund, Jane Cowl, Phyllis Thaxter, Richard Denning and Lyle Bettger are all fine in support. It's all based on a Cornell Woolrich novel called "I Married A Dead Man" with the usual touches of irony found in his work.
It's one of director Mitchell Leisen's better films (he did "To Each His Own", "Hold Back the Dawn", and many other interesting films.) Absorbing and well worth watching. Not a well-known film but it's one of Stanwyck's best.
Top notch performances from Barbara Stanwyck and Jane Cowl make this film worthwhile. The plot's a bit silly - but these two extraordinary actors make it all seem utterly convincing. Moody cinematography and strong direction help too. Interesting to see the same story turn up a few years ago as "Mrs Winterbourne" with Ricki Lake and Shirley MacLaine in the Stanwyck and Cowl roles respectively. A less serious treatment, but also less successful.
Did you know
- TriviaIn-joke: The character played by Barbara Stanwyck is named Helen Ferguson; this is the real name of one of best-known Hollywood publicists of the era, who also represented Stanwyck.
- GoofsPatrice decides to go to the Country Club dance with Bill at short notice. Such an event would be limited to members and invited guests. Yet Steven Morley, who does not move in that social circle, is in attendance and makes contact with Patrice.
- Quotes
Bill Harkness: [returns to car after dumping a dead body onto a moving train] He stayed on, caught on the catwalk or whatever it is, but his hat came off.
Helen Ferguson: Don't.
- Alternate versionsThis film was published in Italy in an DVD anthology entitled "L'uomo con il mantello", distributed by DNA Srl. The film has been re-edited with the contribution of the film history scholar Riccardo Cusin. This version is also available in streaming on some platforms.
- ConnectionsFeatured in Film Review: Changing Faces (1968)
- SoundtracksMolly Malone
(uncredited)
[Performed by Bill on the piano]
- How long is No Man of Her Own?Powered by Alexa
Details
- Runtime
- 1h 38m(98 min)
- Color
- Aspect ratio
- 1.37 : 1
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