The 13th Letter

I thought "The 13th Letter" was a pleasant surprise, a good mystery that keeps you guessing until the end of the picture. In hindsight, it seems a good idea to place the film in Quebec - it seemed a little quirky when the film began but you gradually get used to it. Acting was good all around, especially the two old pros, Michael Rennie and Charles Boyer. Director Preminger uses all cast members as suspects and sprinkles suspicion around liberally - so much so that you can't pinpoint the culprit until late in the movie.

As noted in the site's summary, someone is writing poison pen letters to the new doctor in town (Rennie), and copying in various and sundry townspeople. The letters accuse the doctor of an affair with the wife of the head of the local hospital (Boyer). This is a well done mystery which I can't recall as being on TV. I think it would be well-received if it were dusted off by FMC - it was produced by 20th Century Fox and must be in their vaults somewhere.

The film stars out as an interesting mystery with an atypical premise. Then it deflates and gives you a disappointing ending.

Boyer is the only Quebecianite who has a French accent and as usual, he really pours it on.

1st watched 5/30/2000 - (Dir-Otto Preminger): Well-done whodunit which revolves around a series of letters written supposedly to defame a local doctor in a Canadian town, but ends up becoming more fatal.It keeps you guessing until the end which is pretty much the measuring stick for this kind of movie.

A small Quebec town is rattled by a series of anonymous poison pen letters. Preminger takes a stab at Clouzot's LE CORBEAU (Clouzot himself being one of the finest purveyors of European noir, including LES DIABOLIQUES, THE WAGES OF FEAR and QUAI DES ORFEVRES). I don't recall the original very well, but I do know it had a more biting, cynical edge to it (as well as overt references to abortion, which of course was verboten under the Hays code) as opposed to the moodier tones found here. The subject matter is ripe for common noir themes like the fragility of civilized society and the darkness lurking beneath pleasant facades. Every performance is quite good, especially Michael Rennie and the sultry-as-ever Linda Darnell. The film keeps you guessing and keeps you interested, never playing a hand too soon. Although my copy was rather blurry, I could still appreciate the artful framing and use of light. The score is the weakest aspect, often laying on the strings too thick. Otherwise, quite a fine film.

A series of poison pen letters roils a small Canadian town.

Boyer and Darnell get top billing, but Rennie gets the screen time and uses it to memorable effect. His aloof Dr. Pearson is a fascinating portrait in guarded emotions. There's one scene where his steely reserve is topped. Catch the old lady, mother of the dead lad, as she brandishes a nasty looking razor while Pearson looks on, hoping it's not meant for him. It's deliciously played.

The movie's a good noirish mystery, benefiting from the Quebec locations, especially during the impressive funeral scene. This was during TCF's neo-realist period when actual locations were widely used. Then too, the French setting lends a kind of exotic air that boosts the unusual poison pen premise.

At first Darnell's role looks like one of her sexually aggressive type-casts, but then the screenplay does an effective job at winning our sympathy. At the same time, I'm impressed with the strikingly pretty Constance Smith holding up so well during director Preminger's extended hospital scene. There's not much info about her or her brief career. Too bad, she certainly had the chops—literally and figuratively—for a starring career. Took me awhile to identify Boyer as the aging doctor and a long way from his usual dashing leading man (sans toupee). After reading his bio, I expect he enjoyed this departure.

Anyway, the solution is rather complex and something of a stretch, for me at least. Nonetheless, the cast and the production carry it off, making for a very watchable 90- minutes.