Die Frau am Strand

Jean Renoir was a fascinating director, but this one has holes in it, despite a classic "beach" mood. Robert Ryan, one of our most underrated actors, looks perfect but seems miscast in this one. Joan Bennett (I've never quite gotten her appeal) seems lost, although she was perfect in the two Fritz Lang films (Scarlett Street & Woman in the Window). Best performance = Charles Bickford as the blind painter-husband. I know there were problems with editing this at the time, but I kept hoping for more.

A 6 out of 10. Too much blasting music, but great cinematography. Irene Ryan (Granny Clampett) has a supporting role, and I believe this is the first film I've seen her in. A great director, but I just couldn't grab onto this film.

Although the screenplay is pretty dreadful, though based on an interesting idea, and the dialogue mostly either flat or silly, this film still shows Renoir's mastery, particularly in the purely visual field. It still stays with me in flashes, from nearly a lifetime ago. In addition to the director, that fine actor Robert Ryan, with almost nothing to work with, creates a strong impression. Definitely worth seeing with a fair amount of tolerance.

`Woman on the Beach' could have been a much better film; that's the tragedy of it. There's meat in this soup of a movie-mainly because of the performances of Charles Bickford and Joan Bennett. But the rest of it is awfully weak, including, somewhat surprisingly, Robert Ryan. The main failures are the screenplay and the score. The latter can be forgiven, although it's so heavy as to be intrusive, but the former is full of holes that leave the viewer baffled.

I've seen the film three times now and I'm still trying to figure out what exactly happened to Ryan in his career during the war (Navy? Coast Guard? As a previous reviewer here suggested, it's weirdly unclear what Ryan's duties were before and after the war) and what is supposed to be wrong with him.

The secondary characters seem to have wandered into the noirish landscape from a Ma and Pa Kettle film and frankly I'm not all that surprised that Ryan seems ambivalent about marrying good girl, Nan Leslie. Renoir doesn't seem to have known just what genre of a film he was making. We go from the woman's film to film noir to hokey comedy and back again. Irene Ryan is wildly out of place and her performance is over the top in the worst kind of way.

But the gems in this film are Bennett and Bickford. Their characters' seamy, violent, sado-masochistic relationship is riveting and you can't help but wish that Renoir had spent more time focusing on it and less on the antics of the Wernecke brood. Joan Bennett usually needed good material (`Scarlet Street', `The Reckless Moment', `The Woman in the Window') to shine, but she does quite well here, particularly in her scenes with Bickford. There's also a wonderful moment where Ryan is beginning to realize that she isn't quite the put-upon little woman he thought she was. Her reaction is worth suffering through scenes about chocolate cake and the decorations at the coast guard station.

Charles Bickford is fabulous as the blinded, bitter and jealous artist, easily outshining the usually excellent Robert Ryan, who appears merely dazed and confused. This was the film that got me interested in Bickford's career. I've yet to find the movie where he isn't excellent.

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.

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.