Entgleist

I really like this movie. OK, so the plot is unbelievable. When you've got good acting and excellent directing you can overlook it all. I especially like Lyle Bettger's portrayal of the heel boyfriend and blackmailer and Jane Cowl as the kindly mother in law. And what can you say about Barbara Stanwyck that hasn't been said - steady, compelling, convincing. She's the best.

There's one line in the movie that always makes me laugh. After Barbara has her baby, the doctor and nurse are talking about her progress and agree "if she continues to do well, she can see the baby in a couple of weeks". In our 21st century experience of instant parent/baby bonding, this seems so bizarre!

A case of mistake identity turns into a grand deception as a new mother tries to secure a better life for her child. The premise is similar to THE HOUSE ON TELEGRAPH HILL (minus the concentration camp angle, of course). A bit predictable and a bit far-fetched, but Stanwyck's performance sells it completely, and Leisen shows a dedication to the material, bringing what might have been a rather hokey women's weepie to life. The drama is compelling from start to finish, with measured pacing and excellent camera-work. The situation keeps ratcheting up to a tense climax. Lyle Bettger is pretty great as the slimy antagonist, as is Jane Cowl as the benevolent grand dame of the household (John Lund once again comes off rather bland). If the ending seems a bit too convenient, at least it provides for a really satisfying callback.

'No Man of Her Own' is not to be confused with the 1932 film of the same name with Clark Gable and Carole Lombard. Completely different films, as completely different as they could possibly come, in premise and tone. It is adapted from terrific though admittedly melodramatic source material ('I Married a Dead Man' by Cornell Woolrich), and any film that stars the great Barbara Stanwyck always has me sold. Not every film of hers is great but she always rose above her material and was always a bright spot in her lesser work.

Mitchell Lesisen was less consistent for me, but he was a more than competent director and did some good and more films. 'No Man of Her Own' is not one of Stanwyck's very best films, but it is one of her more interesting ones and has a typically wonderful performance from her. It is one of Leisen's more interesting films too and has some of his most inspired direction. Of all the versions of 'I Married a Dead Man', of the ones seen to me 'No Man of Her Own' is the best.

Even with the story being as often outlandish and sometimes in the latter stages confusing as it is.

For my tastes too the ending jarred a bit tonally and wraps things up too neatly. The twist is quite clever though and not predictable.

Still, 'No Man of Her Own' still managed to be very well executed with three particularly good assets that will be mentioned later. The cast are all good, with Jane Cowl moving in her role and Lyle Bettger (apparently in his film debut) is chillingly caddish. John Lund was fine in my view, it is not easy for a leading man to hold their own against such a great actress and Lund does pale in comparison. He still does a good job in his conflicted and not as interesting role. The script adapts the source material thoughtfully without being too wordy, melodrama doesn't get too excessive, and despite being outlandish and muddled the story has a lot of suspense when things start to unravel. The music is haunting.

The photography is beautifully composed and its shadowy look and doom laden shots provides a lot of atmosphere. Leisen's direction is some of his most inspired, because of the suspense and his use of camera work. Stanwyck gives a fearless firing on all cylinders kind of performance that completely grips and moves in equal measure.

In summary, the story has its issues but it is still a well done film and to be seen for the direction, atmosphere and Stanwyck. 7.5/10

I love this film. I first saw it when I was 10 and always remembered the story and feel of it. This is wonderful noir, with the kind of plot that keeps one enthralled until the final frame.

All the performers deliver: Stanwyck moves from a tragic character with little hope, through loss, the turmoil of deceit to happiness. This was a strong performance for her; John Lund perfectly portrays a man in conflict. Jane Cowl and Catherine Craig are almost a perfect sparing pair as the mother and the maid, their sarcasm to each other provides the humour scattered through the film.

The atmosphere and mood of the latter part of this film is perfectly captured in black and white. It makes you realize the role shooting a film in black and white played in this genre.

If you have not seen this film, do yourself a favour AND SEE IT.

...and I say that with the highest form of flattery. This nail-biter is tightly directed, moves along at a nice swift pace and never drags for even a moment. Barbara Stanwyck gives one of the finest performances I have seen by her and the rest of the cast is all around excellent as well. After Helen Ferguson is left pregnant and penniless by her jerkoff of a boyfriend (the dreamy and steamy Lyle Bettger), a series of events leaves her mistaken for the widow of a rich man. The family takes her in and the brother of her alleged widow (played by handsome John Lund) falls in love with her and everything is hunky-dory - that is, until the jerkoff ex-boyfriend comes back and starts all kinds of trouble. The cherry on top of the whipped cream here is a lovely and sympathetic performance by Jane Cowl as the mother-in-law. A classic soapy film noir!