v_haritha_in If you ever wanted to see a blend of 40s film-noir and classic (30s to 40s) horror, this is the movie for you. It opens with murder of a young woman, Rosalind, which is quickly written off by the police as suicide. So, now we know there is a murderer on the loose. Rosalind was the secretary of a seemingly-wealthy host of a popular mystery radio-show, Victor Grandison (Claude Rains). Strange events soon start taking place at his household. The script seems to have been written with film-noir in mind.There is murder, deceit, suspense, a damsel in distress, a guy playing detective, etc. However, one distinctive feature of noir is that it is grounded reality, more so than other genres and script fails at this by incorporating some rather improbable events. How to remedy this? By adding a touch of horror of course (a genre where suspension of disbelief is stretched quite often). At the centre of it is Claude Rains giving a superb performance. Suave, calm assured, sinister (and caring), his persona is more of a horror villain (as opposed tough and street-smart noir characters). It is a joy to watch him. The rest of the cast is serviceable. Some other reviewers have complained about too many plot threads. While I agree with them, I did not find it distracting. Could this movie have been a teensy bit better? Yes. But, is it worth watching? Yes again.

Benedito Dias Rodrigues Why this picture is so unknown by us,maybe the good premisse falling dowm after a few little mistakes in the plot,some obscure happenings can explain it and some twists and many unbelievable facts make a damage without recovered on sight,the whole picture is supported by the fine casting strong direction and a fear atmosphere about to come,Claude Rains's character is certainly madness and without purpose at all,pure insanity instead master of mystery as he wants to imply yourself to the audience,sometimes quite absurd plot,sometimes don't!! Still .....for a movie by Michael Curtiz was to expect more!!Resume:First watch: 2018 / How many: 1 / Source: DVD / Rating: 8

brendangcarroll In 1947, Michael Curtiz set up his own production unit at Warner Bros. The deal he struck saw this versatile director being allowed to choose his own projects and not merely be assigned films as a house director, while at the same time enjoying the full production facilities of the studio. This film was the first project of what was sadly a short-lived arrangement, chiefly because box office returns on this film were so disappointing.The script peppered with snappy one-liners and wisecracks particularly for Audrey Totter and Constance Bennett, was by Ranald MacDougall from an adaptation by Curtiz' wife Bess Meredyth of a dime novel by Charlotte Armstrong. MacDougall had previously done the witty screenplay for the superb noir classic, MILDRED PIERCE in 1945 (also directed by Curtiz) and his gift for tart dialogue made the role of Eve Arden in that film especially memorable.It is likely that Curtiz envisioned the story of THE UNSUSPECTED as the perfect vehicle for Claude Rains, an actor he had worked with frequently before (The Adventures of Robin Hood, Four Daughters, The Sea Hawk, Casablanca etc) and who was renowned for his distinctive, memorable voice. Victor Grandison is a famous radio star because of the hypnotic power of his voice in relating his celebrated true life crime stories and it would be difficult to imagine another actor in the role, save possibly for Basil Rathbone.The story is complex and not entirely believable, and has several plot holes. The most serious concerns the first murder. If Grandison is able to catch an earlier train because he has used a recording of his broadcast and not performed "live", surely his so-called alibi would have been exposed by colleagues at the radio station - especially his secretary (Constance Bennett)? This is never explained.No matter. What makes this thriller so eminently watchable are the delicious ingredients lavished on the telling - especially the superb art direction by Anton Grot who would have undoubtedly story-boarded the many memorable images as was his practise - and the distinctive camera-work of Woody Bredell.Between them, Grot, Curtiz and Bredell bring a Germanic, expressionistic style to almost every scene and there are some amazing trick shots that must have taken days to light properly. Check out the remarkable scene near the end where, as kindly Grandison reassures his niece that all will be well, a wine glass with fizzing content is in close-up and sharp focus and we then realise it has been poisoned by Grandison.Add to this virtuosity of film making, a beautifully atmospheric score by Franz Waxman, a fascinating cast and a star turn by Claude Rains and this overlooked gem is in a class of its own.I have never understood why Curtiz is so under-rated. I would know his style within a few shots. His fluid camera, always roving and engaging with the action and the characters, makes CASABLANCA the classic it is and is why we always feel we have really been to Rick's café.THE UNSUSPECTED is so enjoyable because of Curtiz holding our interest through sheer visual flair and bears frequent repeat viewing. Its weaknesses are quite forgivable when one considers its many pleasures.

handyguyny This is from the director and screenwriter of Mildred Pierce -- but don't let that get your hopes up. The plot and dialogue have to be experienced to be believed. And except for Rains, having fun hamming it up, the cast is dreadful. It barely makes sense, and is utterly unbelievable at any rate.The Rains character kills off one character after another, and no one around him seems to suspect a thing, despite the fact that he gives himself away in his ridiculous radio scripts, allegedly true crime tales that he reads plummily with a live orchestra in the background.Curtiz keeps it all watchable, although it could be shorter. He does provide a nice touch or two, as when the camera moves toward the dark front of a radio speaker and the shot dissolves to a train tunnel.Michael North, as the bland hero, and Audrey Totter, as a sharp-tongued floozy, provide stiff and amateurish line readings that are somewhat entertaining in themselves. Hurd Hatfield is more convincing in the less than inspired part of a weak, drunkard husband. Joan Caulfield mystifyingly gets top billing over Rains.Was this really an 'A' picture at Warner Bros.? It's campy fun, but nowhere near the classic Macdougal and Curtiz had recently produced with Joan Crawford.