Im Solde des Satans

Sure I agree that Joan Crawford was too old for THIS part, which required a 20-something bored with her slug of a husband. Then wanders off and has men chasing her skirt basically 24/7.

Nevertheless - and most ironically - the decision to strip her of the usual five layers of war paint reminds viewers just how ridiculously good-looking Joan Crawford was. And pardon me for saying so,but I had no problem - None Whatsoever - believing Joan with a more natural look, parading around in model's lingerie or dinner clothes, and sporting a cheeky attitude, would have men falling all over themselves.

She is, quite simply, a drop-ded s3xy woman, regardless of age.

As her character gains confidence with the hustle, her character just gets more interesting. And more attractive.

There's a plot involving an accountant but who cares. Those are details.

For me, the best part about this film was the exceptional lighting which made this a great movie to see on DVD. The great black-and-white photography reminded of films like The Sweet Smell Of Success and To Kill A Mockingbird. The camera-work in this movie does not take a backseat to those great films, believe me.

Story-wise, it's a somewhat-familiar Joan Crawford movie with a bit more emphasis on the melodrama than the film noir, a la Mildred Pierce. That's a compliment because "Mildred" was a well-crafted story and so is this. It's an effective mixture of drama and noir. However, unlike "Mildred," this Crawford character ("Ethel" aka "Mrs. Forvbes") has a worldly edge to her with a chip on her big shoulders. It's tough to sympathize with her in this story, frankly.

Kent Smith plays her naive, wimpy dupe for much of the film but when David Brian enters the scene, the movie really picks up. Gangster Brian is nobody's patsy and he's fascinating, portraying the most intense character in the story.

This is another one of the fine classic movies that never got a VHS showing but finally got a break with a recent DVD release, which is all the better since the camera-work is deserving of the nice look this transfer gives it. Once more, another impressive movie from 1950, one of the better years Hollywood ever had.

Joan Crawford portrays a young woman on the edge of poverty who decides to change her life for the better. Unfortunately, she thinks that money is the answer to every problem. A smart drama, though formula most of the time. An excellent cast includes David Brian, Steve Cochran and Kent Smith. This is a film worth seeing.

Loosely based on Virginia Hill (Bugsy Seigel's moll), Director Vincent Sherman's film gives it a melodramatic gloss adapting it for star Joan Crawford. Enough of the essential underworld nastiness survives to edge it into Noir territory. Crawford plays Ethel, an unhappy housewife to an oil worker (Richard Egan). Fed up, Ethel moves to the big apple to start her life anew. She ends up as model for a fashion house, earning extra "tips" by wining and dining the firm's clients after hours. Along with the company's accountant Martin (Kent Smith), the pair end up meeting the head honcho for a crime syndicate, the oily George Castleman (David Brian). The pair finagle their way into Castleman's graces through Martin's ease with figures and Ethel's figure* (and her clawing to the top, wiles). On 'assignment' to the West Coast to keep tabs on a renegade operative in Castleman's organization, Nick Prenta (Steve Cochran), Ethel becomes further entangled. The screenplay and production are very slick. The acting smooth. DAMNED is a well done and smoothly entertaining film. Crawford gives a standout performance as the social climber who seemingly will stop on nothing to get what she wants, no matter who she has to hurt along the way. Cochran is charismatic as the Bugsy Siegel stand-in. The casting of the ultimate milquetoast Kent Smith is a master-stroke, perfectly setting up the character's story arc. David Brian has an icy frightening glare which Cinematographer Ted McCord amplifies, at one point making his eyes glow like something out of VILLAGE OF THE DAMNED! DAMNED DON'T CRY is a fine example of sunlit Noir (although there are plenty of dark scenes) and an interesting cross-over with gangster crime pictures. Using Frank Sinatra's real Palm Springs pad as Prenta's hang gives it that much extra verisimilitude. Keeping all the other superlatives in mind, this is still Crawford's picture. Her avaricious Ethel is Noir classic. Of course, any similarity to the actresses real life persona is strictly intentional!

* P.S. One aspect of the film that is the elephant in the room is that the viewer has to accept that Crawford's physical beauty is such that it makes every man she meets melt in front of her. She was an attractive woman, particularly in her earlier years, but, by the time of DAMNED she was hitting her mid-40s. Watching men drool as if Gene Tierney, Ava Gardner or Rita Hayworth had strided into the room is a bit much.

The Damned Don't Cry finds Joan Crawford on a roller-coaster ride from poverty, to riches, to notoriety and then to God knows where. Her fate is by no means clear at the end of the film.

Joan is an older version of the shop girl she played in her MGM days. She leaves her hard working, but dull husband Richard Egan after their little boy is killed in a traffic accident. She has beauty, but little else in the way of work skills. The answer is obvious, become a model.

The modeling gig gets her involved with the mob and she's soon trading up men from accountant Kent Smith, to mobsters, Steve Cochran, and David Brian. Along the way Joan acquires riches, polish, and a new name and identity of a wealthy Texas oil heiress. That's only befitting the position of mistress to the gangster elite.

With Virginia Hill's testimony before the Kefauver Committee and the spectacular death of Bugsy Siegel a couple of years earlier, the recognition of the characters played by Crawford and Cochran would have been easy for the movie-going public. In fact I'm surprised Steve Cochran never got to play Siegel in a biographical picture long before Warren Beatty did his film. Cochran would have been perfect in the role. Of course it was probably too close to Siegel's demise and a lot of Hollywood people might have been burned a bit.

David Brian is a sleek version of Lucky Luciano who was not as polished in real life as Brian is here. But beneath the polish, Brian's a deadly man although he would not be doing his own work if he was really Luciano at that stage. And Kent Smith in the Meyer Lansky part is really quite the stretch.

Crawford pulls all the stops out in The Damned Don't Cry. Her fans and others will really love this film.