Guest in the House

A psychiatrist bring his fianceé -- a former patient -- back to his family house, and she proceeds with a plan of homewrecking. Anne Baxter, several years before ALL ABOUT EVE, is great as another manipulative, conniving and more than a little unstable femme fatale. There is a significantly longer version of this film, but getting the shorter one was probably for the best. The first two acts are a bit sluggish and repetitive, but things really ramp up for the finale. Brahm brings the same Gothic gloom as he did in his period noirs THE LODGER and HANGOVER SQUARE, as the residence gets more and more claustrophobic and ruled by shadows. There's some wonderful framing technique at play, often emphasizing Baxter's control over the household. Supporting performances are generally quite good, with especially good turns from Aline MacMahon and Marie McDonald (like Marilyn, a bombshell blonde with a knack for comedy, but a tragic life ending in a bottle of pills). The film could use some higher stakes and a little more zip, but it has some mighty fine elements.

A naive psychiatrist brings his former patient, Evelyn Heath (Anne Baxter), to his cliff-side country home to meet the family before they tie the knot. The good doctor's Aunt Martha (Aline MacMahon), his artist brother, Douglas (Ralph Bellamy), Douglas' wife (Ruth Warrick) and daughter do everything they can to make the mentally unstable Evelyn feel at home but underneath her fragile exterior lurks a manipulative minx who wants the home for herself. Evelyn sets her romantically obsessive sights on Douglas, running off his model (Marie McDonald) and taking her place before tearing the household apart until one member takes matters into their own hands...

Told in flashback (with brief voice-over narration) this slightly stagy Hunt Stromberg-produced "domestic noir" was one of the first of a spate of films reflecting the era's budding fascination with psychiatry. Adapted from a hit Broadway play and directed with style by German-born John Brahm, there's a claustrophobic mansion, thunderstorms, a crashing sea below, and ever-present shadows all moodily photographed by Lee Garmes to an Oscar-nominated score. Anne Baxter, in a forerunner to ALL ABOUT EVE, is effective as a pathologically neurotic snake-in-the-grass with solid support from character actors Margaret "Wizard Of Oz" Hamilton and Percy "Pa Kettle" Kilbride as the household help. There's also a bit of wartime-liness as the story can be seen as metaphor for "fighting fire with fire" when an enemy threatens hearth and home. Director John Brahm, who fled Nazi Germany in 1937, helmed this film for United Artists between his two 20th Century Fox Period Noirs, THE LODGER (1944) and HANGOVER SQUARE (1945). Sexy Marie McDonald got her nickname "The Body" during production and eventually killed herself. GUEST IN THE HOUSE, with its dark and rather drastic ending, is a little seen and rarely discussed early noir that should be more accessible.

Noirometer: Although only semi-satisfying for some reason, this moody melodrama boasts a deceptively destructive femme fatale, some unhinged histrionics, a German-trained director, daytime shadows on restricted wartime sets, poetic retribution, and a bit of Freud. A house-guest-from-Hell plot line was later given another workout in Nicolas Ray's camp-noir BORN TO BE BAD (1950). 7/10

Publicity:

The Boldest Love Story Ever Told!

From the daring Broadway stage hit... Hunt Stromberg has made a daring picture

The story of a lovely girl driven by strange desires... and the emotions she unleashes in the lives of gay and charming people

This is "Shadow of a Doubt" meets "The Women." It's as if it had been produced by Val Lewton, particularly in the early, ambiguous scenes. And it does feature two of Orson Welles's players: Anne Baxter as the title character and Ruth Warrick as her hostess.

Warrick and husband Ralph Bellamy agree to give some country air to a troubled young woman. Bellamy is a painter. Marie McDonald is his model. Without giving too much away, Baxter reacts to her with the fiery prudishness of a Jack the Ripper. She's shocked; she's appalled.

That marvelous character actress Aline MacMahon is the family aunt. She gets third billing and plays a central role. And she is superb --often framed between other characters, looking out wisely. Her face could register pain and restfulness at the same time.

The film was beautifully shot by the great Lee Garmes. It's directed well by John Brahm.

At times, it grows overheated. But for the most part it is subtle and unnerving.

An apparently friendly young woman named Evelyn (Anne Baxter) is invited to stay in the family home of her doctor and boyfriend named Proctor(Scott McKay). The female patient Evelyn is really a selfish young , a manipulating babe who hates the birds and with malignant objectives . The-not-so-innocent girl becomes at the beginning an enjoyable guest but she ruthlessly uses everyone in his goals. She skillfully tries to break the familiar harmony. Then , Evelyne falls in love with Douglas Procter (Ralph Bellamy) . He's a good man married Ann(Ruth Warrick) and with a daughter, Douglas dedicates artistic labors painting his model Miriam (Marie McDonald).

The pictures features exceptional work by Anne Baxter , she's magnificently hateful as the insidious Evelyne who attempts to dissect the harmonious group . Her acting result to be a phenomenal precedent to the character she played in ¨All about Eva¨ by Joseph L. Mankiewicz. Special mention to Margaret Hamilton , the famous witch from ¨The wizard of Oz¨ as a snooper maid and of course Aline MacMahon as the spinster aunt Martha , she's also worthy in a razor-sharp performance. Furthermore, a beautifully cinematography in subdued black and white by Lee Garmes, Atmospheric and appropriate musical score by Werner Janssen.

The motion picture is well directed by John Brahm (1893-1982). He was a German-born director who worked in the theatre for nearly 20 years before attempting his hand at movies. Later on, he had an initial work in England and after that he went to Hollywood where Brahm converted himself an efficient filmmaker of variety of routine mid-budget movies until 1944/45 when he directed two magnificent suspense movies with Laird Cregar : ¨The Lodger¨and ¨Hangover square¨ and a splendid drama ¨Guest in the house¨, the three full of atmosphere, intrigue and a sense of imminent tension. Later on he continued working almost entirely in TV but never again finding his previous inspiration .Rating : Better than average , worthwhile seeing.

Many IMDb luminaries have written very good analyses of this movie and its relationship to Ms. Baxter's Oscar-Winning performance in All About Eve. And surely, at least in hindsight, Guest in the House is one of the vehicles that delivered Baxter to what many consider to be her masterwork. Since I am not an expert on Ms. Baxter or All About Eve, I do not wish to contribute either negatively or positively to that discussion. Instead, I will review Guest in the House (AKA Satan in Skirts) as an example of what it historically was - a disturbing, suspenseful and unusual film noir.

Baxter's character - Evelyn Heath - is, of course, the central element in this single-set piece. Ms Heath is a pretty young thing whose grace, beauty and charm thinly mask the truth. In fact, Ms. Heath is a manipulative, emotionally unbalanced sociopath. Unlike most noir film's the nature of the protagonist is revealed to the audience in the first few scenes as she enters the House Proctor with Fiancé Doctor Dan (Scott McKay) and immediately sets her sights on the older, married, artist and head of the household - Douglas (Ralph Bellamy). Evelyn allegedly has a heart condition and is engaged to Dan - a hard working doctor. Dan has set her up in the family home to rest and recuperate. So it's not hard to imagine why the rest of the family does not expect a thing, even after Evelyn encourages Dan to depart for the remainder of the summer and begins subtly sowing the seeds of suspicion and jealousy around her prey.

The Proctor family begins unraveling with the puritanical servants (nicely played by Margaret Hamilton and Percy Kilbride) and young Lee (Connie Laird) - who are the most vulnerable characters. As the accusations begin, each character falls under Evelyn's diabolical enchantment - with the exception of Aunt Martha (Alice MacMahon), Douglas's world-weary spinster of a sister.

If this all sounds atypical for noir - it should. John Brahm's parlor play A Guest in The House, is not a run-of-the-mill noir in most respects. The film is dark only in the figurative sense, most of the plot is transparent, the lines of good and evil are clearly defined, and there is neither a car nor a murder weapon anywhere in sight. Perhaps most remarkable is the fact that the entire film takes place in one set - a large house on the rocky coast of New England. But in intensity, fatalism and theme, A Guest in the House is entirely film noir. There are two significant noir ingredients which also appear, but I won't given them away so that I can avoid presenting a spoiler.

Journeyman Director John (or Hans) Brahm is probably best known to American audiences for having directed the well-regarded Twilight Zone episode "Time Enough at Last". His long and modestly prolific career (35 years and somewhat fewer features) could be characterized as wandering or - more positively - diverse. He dabbled in religion (Our The Miracle of Our Lady of Fatima), Psychological Horror (The Lodger), pulp action (Hotrods to Hell) and even Westerns (Face to Face), yet managed to bring a respectable quality to all of his efforts. That quality is present in A Guest in the House. And the director deserves some praise for pulling off a film which successfully challenges the experimental boundaries of what was, at the time of its production, a very popular genre.

The cast is superb and the casting is perfect. The film is well- directed, although at times the pace is a little difficult. And the story-line is interesting but disturbing enough to put off many if not most. The film was nominated for an Academy Award for its good, though not very memorable, score.

Despite my respect for this film, however, I can only modestly promote it. Most audiences will not have the patience to endure the entire film and will fail to recognize the transparency of the plot as an important departure from its genre. Keep this warning in mind if you decide to give it a go. The ending is well worth the wait and may not be what you expect.