Im Netz der Leidenschaften

Someone previously questioned the meaning of the title. In my view, it refers to the double twist imposed on the story's ending by the author--especially once the legal wrangling between opposing lawyers (near the conclusion) is exposed. Then, finally, after winning a victory of sorts, the unexpected happens--thus, the irony of the title. Anyway, this is as good as it gets--you won't find a better version of this story than this 1946 film. I'm always amused to read that someone on these posts "never looks at black-and-white films", a total putdown of all the great classics that came before color was even possible. How dumb can you get? For fans of complex, hard-bitten murder yarns with gritty background and suspense that tightens slowly like a knot, this is for you. Watch as the two leads get more and more entangled in their own web of deception and lies. Turner established herself as a strong actress who could play a role to the hilt when she identified with it. Garfield, of course, was always at his best in tough guy roles. Watch for my article on Lana Turner in an upcoming issue of FILMS OF THE GOLDEN AGE--much of the inspiration for it came from this particular film noir.

The good atmosphere and Lana Turner's memorable role make this a film-noir classic worth seeing. The story starts out to be relatively simple, allowing the cast and the atmosphere to carry it, and then heads through a series of twists and turns, picking up the pace as it goes along.

John Garfield and the supporting cast are solid, but it is Turner who really stands out and grabs the attention anytime she is on-screen. It's nothing against Garfield to say that in comparison he is almost just along for the ride, yet he does a creditable job and makes his character believable. The supporting cast helps out as well, with Cecil Kellaway on-target as Turner's oblivious husband, and Hume Cronyn likewise in good form as a conscience-free lawyer.

The story pulls you in slowly, and then has some good turns as it picks up steam towards the middle. There may be a couple of too-convenient plot developments, but otherwise it is well-written.

This classic version is quite a bit better than the early 1980s remake, which required little imagination to make or to watch. Turner's character and performance, in particular (aided by good camera work), demonstrate that the suggestive can be quite a bit more effective and memorable than the explicit.

"The Postman Always Rings Twice" has just about everything you could ask for in a film-noir. It's probably just a cut below the best of the genre, and still one of the movies that most fans of film-noir would not want to miss.

A great black and white film from start to finish. The twists and turns keeps you engaged. Just when you thought you had the film figured out, it surprises you. Enjoyable and entertaining. They don't make movies like this anymore.

Those movie audiences who think that explicit sexual scenes shown in movies these days make a film sexy, should take a look at this 1946 steamy MGM picture. "The Postman Always Ring Twice" made an impact on the way movies looked at the time, when the censure of the Hays Code dominated what could be shown on the screen for general consumption.

James M. Cain's novel of the same title was adapted by Harry Ruskin and Niven Busch, two writers that clearly caught all the nuances of the book. Ty Garnett direction made this film a surprise and a star out of the gorgeous Lana Turner, who was at the height of her beauty when the movie was shot. The great camera work of Sidney Wagner made this movie a classic for its sensual look it focused on its female star.

Nick, the older owner of the roadside diner, has married Cora, a woman much too young for him. Cora, who clearly has found her meal ticket, is happy in the way her life has changed. When Frank Chambers arrive at the diner, Cora realizes the mistake she made in marrying Nick; Frank stands in sharp contrast with Nick. Cora's sexual needs awaken when Frank pays attention to her. As lovers, we realize they are doomed.

Because both Cora and Frank are amateurs, they botch the well laid plans they have for getting rid of Nick. Everything conspires against them because it's too clear what they have done. They will not be able to get away with the crime, or a life together because unknown to them everyone had seen through them from the beginning.

Lana Turner, whose whole wardrobe is white, made a great Cora. She is heartless, but she is all sexual whenever she is around Frank. This was perhaps was one of the best things Ms. Turner did in the movies. John Garfield, who is so sure of himself, at the start, loses all his will because Cora smolders him and he doesn't think rationally. Cecil Kellaway is good as the older Nick. Leon Ames, Hume Cronyn are seen in small roles.

"The Postman Always Ring Twice" is a classic of this genre thanks to Ty Garnett's direction and a brilliant appearance by an inspired Lana Turner.

Drifter Frank Chambers applies for a job at a road side café belonging to Nick Smith, only to fall under the spell of Nick's wife Cora. He falls into desire which leads to deceit and eventually murder. Too late he falls in love but by then things have gone too far. He tells his story to us with the hindsight of a condemned man.

A classic bit of noir light. Based on Cain's sexual novel this underplays the explicit references but turns the subtle stuff way up - the film opens with a `Man Wanted' sign, while Cora is so well played that there's no doubt what she's offering. Without the explicit sex of the remake this story is a lot freer to be interesting rather than explicit. The court case and the mistrust between the lovers is as good as the early desire giving rise to murder.

Lana Turner is excellent as the femme fatale, she is smouldering and very, very desirable. Garfield is also excellent as the man trapped in her web. The two are the very center of the film and are both superb. If the film has any weakness then it may be that modern audiences need more than very subtle stuff, but that's probably our problem rather than the film's.

Overall this is very enjoyable, it has a great sense of mood and builds well to the inevitable conclusion.