Mord in Ekstase

Just the mention of playing role of Othello makes Ronald Coleman's Anthony John start hallucinating. Triggered by this project suggestion, Anthony finds himself murmuring lines from Shakespeare's tragedy while walking down the street alone and sitting by himself in restaurants.

Anthony's total commitment to his craft of fantasy, unfortunately, takes a deadly toll on his private life. Signe Hasso's Brita understands this, and instantly fears for her ex-husband's--now co-star's--happiness.

Here's a modern tragedy, scripted by Ruth Gordon and Garson Kanin, of an actor who just couldn't leave his role at the stage door.

"When the actor starts believing he's the character he's playing, that's the time to fire him," remains a wise theatre management adage.

It's a darned good principle, too.

When the actor fails to maintain an "invisible wall" between himself and his co-actors, that's the time for some concern. Although practioners of the Stanislavsky tradition may achieve great "truth" in their work, they may not realize that this achievement is more "relative" than "absolute" and can become a "double edged-sword."

Anthony John's "character-absorption" tendency, while earning him a "great performance," conversely yields a decidedly unconstructive home life. Unless the actor finds some kernels of project idealism to enhance his personal development, the entire enterprise may be negligible.

Milton Krasner's dark cinematography and Miklos Rozsa's dissonant score supports George Cukor's pessimistic direction. Likewise, Walter Hampden's advisement for the "Othello" sequences adds authenticity to the Shakespearian flavor.

In the end, we have a shattering drama, holding within its fold a grave thespian caution: "it's only a character being played, not real life."

For his fine work as Anthony John, Coleman received an Academy Award.

Ronald Colman gives an electrifying performance as Tony John, a Broadway actor who can't separate his offstage life from Shakespeare's Othello, the character he plays on stage....Two important scenes illustrate Tony's dilemma. The first one takes place in producer Max Lasker's office. Acting is a matter of talent for the practical-minded Lasker. But Donlan, Tony's friend, disagrees: "No, no. When you do it like Tony does it, it's much more. The way he has of becoming someone else every night...so completely. No, don't tell me his whole system isn't affected by it."....The other scene occurs in waitress Pat Kroll's apartment. Tony tells her his name is Martin. She thanks him. Then he says: "Or Paul. Hamlet. Joe. And maybe Othello."....When Tony begins rehearsing Othello, we learn that though he's trying to keep his real life separated from his stage life, "The part begins to seep into your life, and the battle begins. Reality against imagination." He can't keep the two separated: In his mind Pat is Desdemona and he's Othello, and he wrongly believes she has been unfaithful to him. He murders her....Colman's bravura performance, in a complex and difficult role, earned him 1947's Academy Award for Best Actor. Oscar nominations went to Ruth Gordon and Garson Kanin for Best Original Screenplay. Not to be overlooked is Milton Krasner's atomspheric cinematography.

There is an atmospheric film noir quality to A DOUBLE LIFE and one that is so fitting for the kind of story it tells. Ronald Colman is an actor who becomes obsessed with his role when playing Othello and goes off the deep end. He does his role so convincingly that it is almost frightening to see him in the grip of his delusions--a Jekyll and Hyde sort of transformation takes over when his dark side emerges. A brilliant performance and he's surrounded by excellent supporting players, notably Shelley Winters in one of her earliest roles as a dumb waitress. Signe Hasso and Edmond O'Brien are fine too. Her fear of Colman's manic state looks genuine as he looms over her figure on the bed, preparing to strangle her.

Not the sort of film you'd expect George Cukor to direct but he does it well with only occasional slow stretches in a story that could have been more tightly controlled with too much repetition in the stage scenes. Brooding and absorbing with a fine background score by Miklos Rozsa. Colman's Oscar-winning performance makes it well worth seeing.

Ronald Colman is actor Anthony John, who finds himself leading "A Double Life" in this 1947 film directed by George Cukor and written by Ruth Gordon and Garson Kanin.

There are mutterings in the beginning of the film about some problem with "Tony" (Colman) the last time he took on a serious role, such a bad problem that his wife, fellow actress Brita (Signe Hasso), could no longer stay with him. When Tony is finally convinced to do the title role in "Othello," we begin to see what the problem is. He disappears into his role and acts it out offstage as well as on -- and pretty soon, his onstage performances become pretty terrifying.

The elegant Colman is terrific as Anthony, particularly the offstage Anthony, who believes he's Othello and searches for a Desdemona to murder. His actual Othello is good but slightly old-fashioned. The trend today is more naturalistic. Nevertheless, for the times, he had the speaking voice and the style.

Shelley Winters has an early role as a victim - she's very young and pretty.

Recommended -- see it for Colman's Oscar-winning performance.

Colman gives one of his greatest performances of his career and won an Academy Award as a Shakesperean actor whose off stage life imitates his theater role of Othello where he kills a woman he believes to be Desdemona. Electrifying suspense, laced with crackling dialogue and melodrama. Winters, in one of her earliest roles, is divine as the victim of Colman's madness. This film gives new meaning to the phrase "disappearing into a character."