robert-temple-1 This was Nicholas Ray's third film, but he was already a master of his craft, as he had shown clearly in his very first film the year before, THEY LIVE BY NIGHT (1948). This film is based upon the novel MORTGAGE ON LIFE by Vicki Baum, and the screenplay by Herman Mankiewicz (brother of Joe, uncle of Tom, whom I knew slightly) sparkles with witty lines and lively dialogue. Herman died less than four years later at the age of only 55; he had written the original screenplay for CITIZEN KANE in 1941. This film has spectacular performances from Maureen O'Hara, Melvyn Douglas, and Gloria Grahame. Both gals play singers. There was a singing double, Kaye Lorraine (uncredited), who dubbed Gloria Grahame's voice. But watching Grahame sing the hit song 'Paradise', whoever's voice it was, is such a great moment that it is worth seeing the film just for that. 'Paradise' originally came out in 1931 and was one of the best songs of the period, and has been recorded by many famous singers, but nobody ever 'delivered' it like Grahame. The story is a good mystery. Grahame is shot early in the film and Maureen O'Hara insists that she did it, but many people suspect that she is only pretending to be guilty, especially as she even refuses a lawyer. Don't worry, Grahame comes back in numerous flashbacks, so we see plenty of her while she is meanwhile lying unconscious in hospital on the verge of death. Ray certainly knew how to get the best performances out of Gloria Grahame, and it was the next year that their joint triumph appeared, aided by Humphrey Bogart of course, IN A LONELY PLACE (1950, see my review), one of the greatest noirs ever made and one of the finest films of its time. Also in that year, Ray added to his list of excellent films noir with BORN TO BE BAD (1950, see my review). These early films of Nicholas Ray are genuine classics, and A WOMAN'S SECRET is not to be missed.

LeonLouisRicci Director Nicholas Ray's Soapy and Flippant Flop is one of His Lesser Known and Lesser Accomplished Films. It Looks Great and so do Gloria Grahame and Maureen O'Hara. But the Movie is All Over the Place in Terms of Tone and Style Incorporating Dull Songs (quite a few), Sloppy Motivations, and Flashbacks to Tell a Story that in the End, Few will Care About.Melvyn Douglas is Miscast as is Victor Jory. Surprisingly the Most Entertaining Part of the Film, other than Looking at the Female Beauties, is the Sharp and Sarcastic Dialog Between a Police Detective (J.C. Flippen) and His Amateur Sleuthing Wife.It's All Professionally Done and is a Mediocre Melodrama with Ill Fitting but Enjoyable Comedy Bits. Not a Film-Noir Although Many Categorize it as such because they had Hoped and Wanted it to be, but not even in a Stretch should this be Considered Despite its Inclusion of some Genre Ingredients.

lemasque I'm not going to bother with the silly story behind this farce. There are several other reviews with that info. The film is full of great actors and Maureen O'Hara is stunningly beautiful. Although there's enough talent to keep you entertained up to the end, my main concern is what this film is not.It is not a whodunit, although Jay C. Flippen as police inspector Jim Fowler at one point says it is. It is not Film Noir, although one flashback scene looks very noirish. Finally, it is certainly not an "All About Eve" as the film is actually all about nobody. In fact, it was impossible for me to figure out why most of the characters do what they do -- but, maybe you can.Why does the police inspector sit and listen to Melvyn Douglas drone on for hours about what a great gal the Maureen O'Hara character is? Why does Maureen O'Hara insist that she is guilty? Why does Gloria Grahame have a German Luger in her purse? Why does the police inspector's wife suddenly turn into a detective? Why is Bill Williams even in the movie? There are many more inexplicable questions that I felt were never answered, but I guess it's just A Woman's Secret.

writers_reign By coincidence this is the second movie written by Mank's big brother Herman that I've watched in two days - courtesy of my good friend in France - and it's light years ahead of the first, Christmas Holiday and in yet another coincidence both movies were adapted by Mank from novels by heavy hitters, respectively Somerset Maugham and Vicki Baum. For this entry someone should coin a new term; slightly bizarre noir, which is what it is. At first glance we seem to be verging on Mildred Pierce territory inasmuch as an argument is followed by a gunshot and a confession which has to be as phony as a nine-dollar bill. On paper this is a film of about as mismatched talents as you could get, on paper at least. Who would ever associate Maureen O'Hara with Nicholas Ray? or cast her as Myrna Loy to Melvyn Douglas' William Powell? And, if it comes to that, who could envisage Jay C. Flippen and Victor Jory in the same film let alone a film that already has O'Hara and Douglas aboard, to say nothing of Gloria Graham who plays Estrellita as if she'd been told to effect a cross between Gracie Allen and Marilyn Monoro - although Monroe had yet to establish her persona in 1949 despite three or four small roles. Mank's script is pithy and droll, full of collectables such as 'What are you doing for dinner?' 'Eating', and, 'I just won another bet, they don't say "Where Am I?"'. If you believe Melvyn Douglas as a piano player-song-plugger you'll believe anything, even that Gloria Graham can carry a tune in a Louis Vuitton purse (she was dubbed, natch) but this time around it's fairly easy to suspend disbelief (since when, for example, have cops wives been allowed to sit in on investigations) and along the way we get to hear the elusive verse to 'Paradise' so really what more do you want.