The Sign of the Ram

Susan Peters stars as a mentally imbalanced matriarch of a rich English family. As part of the back story, you learn that the man of the house, Mallory (Alexander Knox), remarried a very young woman, Leah (Peters). Shortly after the marriage, Leah is severely injured in an accident and she is paralyzed. On the outside, she is a very happy and well-adjusted woman despite her being stuck in a wheelchair. However, very slowly during the course of the film you start to see that there is a hidden malevolence--a malevolence that is manipulative and just plain nasty. But, because she does all this cleverly, it takes folks a long time to realize what a horrid person she has become. See it yourself to see how wicked she becomes as well as what comes of all this.

This is an interesting film because in real life, Peters really was wheelchair-bound. A short time before making "The Sign of the Ram", she was accidentally shot and could no longer walk. This Columbia picture is the first and last film she made following her tragic accident. Even more tragic is what happened to Peters' life in the subsequent years.

As for the film itself, it's got a great setup and the first 85% of it captured my attention very well. It was a great idea and was a bit reminiscent of "Leave Her to Heaven"--another film about a VERY twisted wife who manipulates and kills to get what she wants. Unfortunately, the resolution to the film seemed to come much too prematurely and although good, the ending COULD have been much better. Good but a bit lacking.

From the wheelchair to which the actress was confined as the result of a hunting accident three years earlier, Susan Peters builds a controlled, subtle, expert performance that's the centerpiece of John Sturges' The Sign of the Ram. As the paralyzed young stepmother of three children living in a great Gothic pile on the Cornish coast, she conceals her frustrations under a mask of serenity (she writes mawkish poems for a London newspaper under the name Faith Hope) only to unleash them in sly, vindictive manipulation.

The wheelchair may render her immobile, but her hands, restless and expressive, are ever on the move: posturing with cigarettes and lighter, picking out waltzes on the keyboard, plying her pen, knitting and purling. They seem to have a life of their own – a slithery, reptilian life, fueled by the cold instincts of the brainstem alone.

The cast around her pulls its weight, too, in particular husband Alexander Knox, best remembered as the president in Darryl Zanuck's overblown biopic Wilson; Phyllis Thaxter as a hired secretary/companion; and Peggy Ann Garner, as an adolescent girl whose warped loyalty to Peters almost has irreversible consequences. Sturges maintains the pace, a brooding andante, while Burnett Guffey coaxes the most out of the labyrinthine house and crashing Irish Sea.

But it's Peter's movie, and her last (she died four years later). When her machinations come to light, with the fog rolling in, Sturges devises a superb final scene – a cinematic `schlussgesang,' as they called those overwrought soprano passages that rang down the curtain in German opera. She deserved nothing less.

The promising career of Susan Peters, nominated for an Oscar for "Random Harvest," was cut short when she was shot in a hunting accident and wound up paralyzed. MGM kept her going by having her interview stars for the fan magazines. I know Susan's nurse from those days, and everyone from Clark Gable to Lucille Ball - all the MGM stars - came to Susan's home to be interviewed.

In 1948, she appeared in this film, "Sign of the Ram," which was tailor-made for her, as it concerned a woman in a wheelchair. Peters plays Leah, married to an older man (Alexander Knox). As this was his second marriage, her family was ready-made. Leah is responsible for having saved the lives of two of his children in the ocean, but she was smashed against the rocks and it left her permanently in a wheelchair.

Her husband and family are devoted to her, but the truth is that Leah is a manipulative witch who does what she has to in order to keep the focus on her and preventing anyone from finding happiness outside the home. She manages to put the kibosh on two potential marriages by devious means and has one of the children (Peggy Ann Garner) totally brainwashed. When a pretty new secretary (Phyllis Thaxter) is hired, she is very threatened.

This isn't much of a movie. It's atmospheric but fairly predictable. Also, though it's set in England, the Americans in the cast make no attempt at a British accent.

Susan Peters was a fine actress, and she does a good job here as an angry, brittle woman who hides her true feelings. This was her last film. She had a go at a TV series and toured with a play which, in fact, came through my home town. She died in 1952, at the age of 31, when her kidneys failed, in part due to anorexia. A terrible end for a beautiful actress who had much to offer in life and on the screen.

Intense psychological drama of the type so popular at the time. Scheming Leah (Susan Peters) is wheel-chair bound in a houseful of young women; so of course we're all initially sympathetic, but then events begin to unfold. The movie is generally under-rated by the professionals, perhaps because the material sizes up as a "woman's picture". Nonetheless, it's a broodingly atmospheric production, well-acted and superbly directed. Since events take place in and around a single sea-side mansion, keeping the audience engaged becomes a challenge. Thus direction, acting and set design take on more than usual importance. I'm rather surprised that the normally budget-minded and outdoorsy Columbia studio responds as well as it does. Note how beautifully composed each frame is-- director Sturges' very real artistic eye is already in evidence, well before his celebrated conquest of wide-screen Cinemascope. Even the process shots (always a tricky challenge) of a roiling surf are expertly done, adding greatly to the sinister mood. (In passing-- there's a 10 second shot two-thirds of the way through of Phyllis Thaxter standing at a window, exulting in Logan's departure. A brief scene like this could have easily been done in spartan fashion. But notice how artistically this passing shot is both mounted and composed. It's touches like this that add up to a memorable production.) If I'm going on about the technical side, it's because this obscure little film more than most exemplifies studio craftsmanship at its 40's best.

The plot itself provides the tragically star-crossed Peters with her final film role, and she's excellent in a carefully modulated performance that could have easily gone over the top. Notice how expressively she uses her hands and fingers to suggest repressed inner feelings as she navigates through a house full of surging hormones. (I wonder how much of the real person crippled by a hunting accident is in that performance.) On the other hand, Alexander Knox as her husband strikes me as a shade too old and too stolid, but maybe he's supposed to be. The young couple, Logan and Catherine (Diana Douglas) are appropriately callow, while Douglas brings off her big scene with Peters in convincing fashion, a difficult challenge. Too bad that fine actress Phyllis Thaxter is given little more to do than stand around and look helpful as the "other woman". For those whose imagination tends to take over, it's perhaps not a stretch to think of the film as Leah's final few moments before going over the edge. Considering the movie's claustrophobic setting, a strictly "mental" dimension seems not far-fetched. However that may be, the film is a real sleeper, unfortunately under-rated, and well worth a look see, especially on a foggy night.

SUSAN PETERS had been an Oscar nominee already(RANDOM HARVEST) and a star-on-the-rise when a hunting accident led to paralysis. But this gifted young performer did not stop acting. Despite difficulties, she starred in THE SIGN OF THE RAM and gave a remarkable performance. As a manipulative, youthful stepmother, she creates dangerous problems for all those around her. Ms. Peters' performance is all the more striking, because it is not the kind of sympathetic role one might expect from a true-life actress in pain. She blithely moves from decent, lovely, caring woman to a woman desperately seeking control of all those around her. Her growth in the characterization is powerful, and she deserved award consideration. Everything else in the film works well -- from the work of Alexander Knox, Peggy Ann Garner, Phyllis Thaxter, Allen Roberts, Dame May Whitty, etal. to the cinematography of the cliffside house, to the art direction, music, etal. John Sturges' direction manages to avoid the pitfalls of melodrama as much as possible. But it is Susan Peters' charisma that makes this an important, albeit forgotten, work of art. She would go on to touring the country in THE BARRETTS OF WIMPOLE STREET and onto TV in the MISS SUSAN series, but she deserved further critical acclaim. This film should be given more prominence; it is a strong work starring a fine actress.