Zwischen Haß und Liebe

Stewart Grainger plays Stephen Lowry, an initially sympathetic character. The audience's goodwill dissipates rapidly however, when he maltreats the family cat: some things a hero should never do. He is guilty of even worse, too, but that's not for this review. Suffice it to say that he meets his match and it's then that things become really interesting. Jean Simmons is Lily Watkins, another character who holds our sympathies - but should she? Such is the nature of this terrifically twisting plot that you never really know.

The intrigue takes on a darker turn and thus provides the thrust of the story. All this in a richly furnished, luxurious house that quickly becomes cold and unfriendly - a terrific setting for the bleak drama, all furnished with a host of well-known faces like Victor Maddern, Bill Travers, Peter Bull and the original Doctor Who, William Hartnell. My score is 8 out of 10.

Footsteps in the Fog is directed by Arthur Lubin and collectively written and adapted by Lenore J. Coffee, Dorothy Davenport & Arthur Pierson. It is based on the short story, The Interruption, written by Gothic novelist W. W. Jacobs. It stars Stewart Granger, Jean Simmons, Bill Travers, Belinda Lee and Ronald Squire. Music is by Benjamin Frankel and Technicolor cinematography by Christopher Challis.

Stephen Lowry (Granger) is found by the house maid, Lily Watkins (Simmons), to have poisoned his wife. She promptly uses the information to blackmail Lowry. But with an attraction there they begin to have a relationship, however, motives and means are far from clear...

A darn cracker of an Edwardian thriller that's redolent with Gothic atmosphere and film noir tints, Footsteps in the Fog also features nifty story telling that's acted considerably well by the then husband and wife team of Granger & Simmons. The plot features murder, betrayal and dangerous love, with warped psychology the order of the day, all done up splendidly in Technicolor by Powell & Pressburger's favourite cinematographer, Challis. Characterisations are deliberately perverse, Lily knows Stephen is a murderer, but is not afraid of him, she loves him on the terms of love that only she understands. Stephen is a dastard, dangerously so, but he's not beyond remorse either, and shows it. Both homme and femme are connivers, a recipe for disaster. These facts mark this particular coupling out as one of the most skew whiff in 50s thrillers. And thankfully when the denouement comes, it's a kicker, a real throat grabber that perfectly crowns this deliciously crafty picture. Support comes from a number of established British thespians like William Hartnel, Finlay Currie and Ronald Squire, while the art department have come up trumps for the period design. All told it's a film deserving of a bigger audience and easily recommended to classic melodrama/thriller fans. 8/10

This movie is certainly one of the best victorian-era thriller melodramas ever made. The atmosphere is perfect (at least according to what we expect victorian atmosphere to be). Both Stewart Granger and Jean Simmons give wonderful performances, each being ideally cast in his/her role. The suspense builds up perfectly, answering the viewers question as to how the katharsis will come at the end. And it is a very satisfying solution - with the exception perhaps of the last words said by Jean Simmons. All in all an excellent movie that deserves much wider recognition than it actually enjoys.

Jean Simmons and Stewart Granger are brilliant in this murder thriller. There are so many twists and turns that you'll never guess what is going to happen next. I wasn't particularly taken with the film the first time I saw it but after several more viewings it is now a firm favourite. Simmons in particular shines as the manipulative girl in love with Granger and this is probably their finest teaming together on screen. See if you can guess how it's all going to end - a clever ending to an enjoyable movie.

She died last weekend aged 80, a great star whose career never seemed to find a summit, forestalled by middling films and imprecise casting. While this Edwardian Gothic gave her one of her more intriguing roles I've always felt she was too beautiful for it. If Lily the blackmailing housemaid had been less attractive the dangerous affair with her murderous employer would have felt a lot darker, seamier and her final pathos - the little skivvy whose dream-world collapses around her - more acute. When the Grangers are together they look perfectly suited - a married star-team of their day. Full marks to their performances, though.

While one or two plot-twists are far too facile - the brother-in-law mistaking the barrister for Lowry just because he comes out of a room, for instance - Arthur Lubin's direction gets the points across clearly and efficiently though lacking the Hitchcock intensity and lingering touches which might have made this a minor classic. A solid Technicolor production there's nonetheless a certain aura of rush and tweaking here and there with odd continuity slips and scenes that suddenly trail away in mid-sentence. Some bad processing is evident when the rather wet second-leads go driving together in the new horseless-carriage, which at least provides some topically amusing light-relief. But it's a memorable little show overall, good to watch with a last glimpse of Granger that's quite clammy - and now to be cherished more than ever as another movie-icon slips away from us in the dark.