Die Frau am Strand

The Woman on the Beach (1947)

An interesting psycho-drama. The plot is a contrivance, limited to one general scene on an ocean beach, where a soldier (Robert Ryan) is struggling with terrible memories of the war. He is apparently in love with one woman but then he meets a far more beguiling and mysterious woman (Joan Bennett), already married to a man who has recently gone blind.

So there are the four characters. Each is loaded with qualities that are plain to see and that guide their decisions in extreme ways. Ryan, as an actor, is not to everyone's taste, but he has grown on me over the years. The stiff posture and equally stiff verbal delivery is laced with feeling, like he's constantly wound up too tight. That's perfect here for a man still tormented by violent dreams and uncertainty in his lonely life.

Bennett plays a kind of woman who isn't quite femme fatale because she isn't quite manipulating Ryan without his knowing, but she has a sinister look and tone to her voice that's terrific. It turns out she hates her husband, not having to do with his blindness, but because he's cruel to her. So it naturally occurs to both Ryan and Bennett in different ways that the blind husband might be dispensable somehow, even if neither is quite prepared for murder.

The husband is given an earthy, almost admirable quality that is wonderfully at odds with how he treats Bennett. And the fourth leading character, the sweet woman who is slowly seeing Ryan slip out of her future, is the one symbol of straight forward simplicity and honesty.

There are scenes along the cliffs, on the stormy waters, at night in the grasses, and in a shipwrecked hull. You feel sometimes that it's almost a play, scripted tightly (too tightly) and staged in a limited physical world (with even the ocean scene seeming constrained in space). But this works, in a way, because you know it's a study of sorts, not a slice of real life. The one real flaw is having the blind man just too able to walk and do things without his eyes, never stumbling, never missing by an inch something he's reaching for.

This movie was a surprise in many ways. I haven't seen one quite like it, and Ryan and Bennett are really both vivid and strangely deep. If the end leaves you unsatisfied, you're not alone. It's too easy, and it shows no psychological insight after all the probing and groping prior. Even so, it's strong enough to work as a stylized piece, an artifice with bits of truth tucked in the edges.

Woman on the Beach, The (1947)

*** (out of 4)

This film features a very interesting story and there are a lot of great moments but at the same time there's a lot of silly and over the top moments and all of the blame has to go towards director Renoir. There's a very good love triangle going on here with a very well done mystery but for some reason Renoir lets the film slip into several over the top moments, which get a few laughs, which certainly wasn't the intent. One problem are the performances by Bennett and Ryan. Both fit their roles very nicely but each have scenes where their characters go so over the top that you've gotta wonder if Renoir was even watching what they were doing. There's also a scene near the end where it seems like Bennett was calling the shots on her own and doesn't know how to act in the scene, which turns out being rather confusing on her characters part. Bickford on the other hand delivers a very fierce and strong performance as the blind man with a temper. He clearly steals the show and acts circles around the other two leads. The film runs 71-minutes and goes by very fast and includes a couple very suspenseful scenes including one where the man wants to know if the husband is really blind and makes him walk on the edge of a cliff. Overall, the film kept me entertained but it's a shame this didn't turn out to be a masterpiece because all the pieces are there but just don't gel as well as they should.

By 1947, Jean Renoir, at least indirectly, wasn't new to the American film noir style. Two years earlier, Fritz Lang had released the first of his two Renoir remakes, 'Scarlet Street (1945),' which was based upon 'La Chienne / The Bitch (1931)' {the second film, 'Human Desire (1954),' was inspired by 'La Bête humaine (1938)'}. 'Scarlet Street' notably starred Joan Bennett in a prominent role, which makes it interesting that, despite allegedly disliking that film, Renoir himself used her in his own Hollywood film noir, 'The Woman on the Beach (1947).' It's a visually-magnificent film, with photography from Leo Tover and Harry Wild (the latter of whom shot 'Murder, My Sweet (1944)' and 'Macao (1952)') that perfectly captures the mystery and eerie calm of the beach-side setting, frequently swathed in gentle clouds of mist that foreshadow the ambiguity and uncertainty of the story that follows. When we first glimpse Joan Bennett on the fog-swathed coast, collecting driftwood at the wreck of a grounded ship, she really does look ghostly and ethereal, a premonition that may or may not be real.

Robert Ryan plays Scott, a coastguard who suffers from regular night terrors concerning memories of a war-time naval tragedy, when his ship was presumably torpedoed. His dream sequences are gripping and otherwordly, recalling the excellently surreal work achieved by Renoir in his silent short film, 'The Little Match Girl (1928).' During his nightmares, Scott imagines an underwater romantic liaison, which, before he can get intimate, unexpectedly blows up in his face; this is an apt indication of the events that unfold later in the film. Scott is engaged to marry the pretty Eve (Nan Leslie), but his attention is soon distracted by Peggy (Joan Bennett), the titular "woman on the beach." Peggy is married to Tod (Charles Bickford), a famous blind artist who is still coming to terms with his relatively recent affliction. At just 71 minutes in length, 'Woman on the Beach' feels far too short, the apparent victim of studio interference. Scott is obviously enamoured, and later obsessed, with femme fatale Peggy, in a manner than suggests Walter Neff's fixation with Phyllis Dietrichson, but the motivations behind his actions are inadequately explored and explained.

Perhaps as a result of the studio's trimming of scenes, many plot-twists in the film seem somewhat contrived. Scott's extreme determination in proving that Tod is faking blindness feels so incredibly illogical – why, indeed, would Tod even consider such a con? Many wonderful scenes are severely hampered by the story's lack of exposition. In the film's most dramatic scene, amid the choppy waters of the Atlantic, Robert Ryan displays a frighteningly convincing rage that borders on pure psychosis, a quality that Nicholas Ray exploited five years later in 'On Dangerous Ground (1952).' However, because Scott's obsession and emotional transformation had previously been explored so sparsely, the sequence feels, above all else, out of context. The performances are nevertheless solid across the board, with Bickford probably the most impressive. Bennett's character is tantalisingly ambiguous: throughout the film, she slowly reveals herself to be nothing but a greedy tramp, though Scott insists on treating her as a tormented victim of abuse. The ending offers little in the way of resolution, reaffirming the sentiment that perhaps this film isn't all there.

... and only gives it 1.5/4. Well Mr. Maltin is like any other critic - a useful tool as to what might be good or bad, but in this case I strongly disagree. It walks on the wild side where most American films did not tread in 1947 unless you were making a full-out noir with people who lived on the underbelly of life.

But this film has an American coast guard officer suffering from PTSD from his wartime experiences as a protagonist (Robert Ryan as Scott), back before they knew what PTSD was and just called it shell shocked. Scott is engaged to marry machinist Eve (Nan Leslie), but then he runs into Peggy (Joan Bennett), who is collecting fire wood near a beached wrecked vessel while he is riding his horse on the beach one day.

He goes back to her beach house where she lives with her blinded husband, Tod (Charles Bickford), a great artist before his blindness, which was caused by some rough sex and broken glass??? with Peggy, so Peggy feels responsible and trapped and Tod likes it that way. Exactly HOW Peggy could accidentally do what she did is unexplained but insinuated, and I assume is completely explained in the novel from which the screenplay is adapted.

The point is, Tod knows Peggy is attracted to Scott, and he seems to enjoy toying with both of them at dinner, yet invites Scott to return to visit them. Peggy and Scott share their unhealthy obsession with past demons, and to Scott this is more attractive than healthy all American Eve. In fact, he fails to show up for their wedding with no explanation, no apology. She has to come to him to get anything close to "Gee whiz I'm sorry".

On top of Scott's PTSD, he becomes obsessed both with Peggy, who understands him and doesn't try to "fix" him and his belief that Tod is really not blind. You see, Scott knows Peggy will leave Tod if it can be proved Tod can see. Tod does seem to follow light, is adventurous in where he is willing to wander alone, and seems to be looking people in the eye when he could not if blind. Can Tod see, and how far is Scott willing to go to prove he can? Watch and find out.

Ryan is always good as the troubled complex soul - you'll never see him play Santa Claus in these old films, but at least you can understand his character. As for Charles Bickford? He was always a giant talent who let his bluntness and temper get in the way of his career. Here he uses that bluntness and temper in his performance. This is probably the biggest role he is in this late in his career, and his characterization of the enigmatic painter is terrific.

I recommend this experimental and odd little film.

A film noir from 1947 starring Robert Ryan, Joan Bennett & Charles Bickford. A coast guard officer is tormented, often taking long horse rides on a beach near his command station to whittle away his dire thoughts but one day he comes across a woman whiling her day away in front of a beached ship. It turns out she is the wife of an esteemed artist (who's now blind) who is stuck in a loveless, abusive marriage which intrigues the military man (even though he is promised to another). He believes the artist's impairment is a front which he tries to use to his advantage to take the unhappy woman away from him. A misguided desire has him at the point where he calls off his marriage & to make plans to take the hated husband on an ill fated boat ride during a storm where he hopes to make his fateful move. The last American film by Jean Renoir (The Rules of the Game/The Southerner) was hampered by a poor test audience & months of reshoots which by the looks of the final product feels about right since it essentially feels like a compromised classic but still deserves some attention just by the justified notoriety of the filmmaker.