The Woman in Question

A Woman in Question (recently IMDb lists it as Five Angels on Murder) is a Rashomon like story told in flashback. The story develops after a women is found dead and police detectives question witnesses, each of whom provides a different account of events leading to the murder. Until the very end, the ulterior motives of each of the characters remain unclear.

It is a greatly underrated movie that is not easily accessible. Anthony Asquith handles the material really well and masterfully builds the suspense. In addition, solid performances are provided by the cast.

If you get an opportunity to watch this movie, do not miss it. Hopefully the movie will become more accessible in the years to come.

'The Woman in Question's' potential was enormous. Love murder mysteries, Anthony Asquith often was a very reliable director and Jean Kent, Dirk Bogarde and Hermione Baddeley have all been great in other films.

After seeing it, 'The Woman in Question' is solid and has some inventive elements. It mostly lives up to its potential but doesn't entirely, there are a few short-comings that bring it down from a potentially great film to just a good one worthy still of more credit. 'The Woman in Question' doesn't get into high gear straight away, it's a little too slow to begin with. Was also one of those people who found the ending abrupt, though the solution was clever and unexpected still.

Most of the performances are fine, but for my tastes Duncan Macrae is a little pallid and John McCallum much too hammy.

However, 'The Woman in Question' is atmospherically produced and shot. Asquith directs with a lot of engagement and command of the material, helped by that it's good stuff to work from, and the film is hauntingly scored without intruding too much.

Script is thought-provoking and does a wonderful job with the development and writing of the titular character, a complex and juicy one. The story is not perfect but is mostly tense and suspenseful with some inventive elements, especially in its treatment of the titular character and what we find out about her.

With the exception of two, the performances are very good. The best of the lot is Jean Kent, who is also the best thing about the film and is simply incredible with some of the widest range of emotions ever seen on film. Dirk Bogarde is charismatic in an early role and his accent, which was a good attempt to stretch his acting chops, wasn't an issue to me.

In support, Hermione Baddeley in particular has a ball and Charles Victor has some fine moments, especially in the final third.

Overall, good and solid film that could have been more. 7/10 Bethany Cox

I personally enjoyed this film. It was something that I had been trying to catch up with on Talking Pictures for months - I kept recording it, without getting around to watching it.

The film had an interesting story telling technique - five witnesses giving different versions of the story, all conflicting with each other. I have wondered who thought of the idea first, the makers of the Japanese film: "Rashomon"; or the makers of this film, seeing that both films were released in the same year.

The film seemed to reflect a lot about what it was like living in Post War Britain: rationing, black market, austerity and people struggling to make a living.

The parts about neighbours just walking in and out each other's houses would seem a bit far-fetched to the younger viewers of today, but although some of my childhood memories of the 1950's are a bit patchy, I do remember life being like that.

However, I don't think a newspaper delivery boy would have been allowed to go through the front door and right up into a woman's bedroom just to deliver a paper.

I thought the way Jean Kent, Susan Shaw and some of the other players were able to take on entirely different personalities as each version of the story unfolded was quite commendable - some smart pieces of acting there.

I was guessing about who the murderer was all the way through the film.

Both "Five Angles on Murder" and the Kurosawa film "Rashomon" came out the same year, so it's very possible that neither film influenced the other-- though they sure have a similar style. Both films consist of a mystery and you see the story through different folks' eyes...and they have extremely different views on exactly what ACTUALLY happened. Both are worth seeing, though by many "Rashomon" is considered a classic.

When the film begins, a child finds a woman dead in her flat. Apparently she was murdered and the police interrogate several people to try to determine what happened. First is the landlady and her interview seems to dubious value as she seems to let her emotions color what she thinks of everyone. She LOVED the deceased and HATED her friend, Mr. Baker (Dirk Bogarde). When the police talk to the deceased's sister, she sees Baker very differently...as she was in love with him. She also thought her sister was a shrill and vicious woman. And so the movie goes...with the police interviewing different folks and all having a very different view of the dead woman as well as their opinions about who was responsible for her fate.

Of all the folks in the film, Jean Kent really stands out as the victim. This is because she had to play such a different character depending on the viewpoint of the interviewee...ranging from almost sickly sweet and refined to coarse and god-awful! It takes talent to have such range! While I would never say the film is as good as the Kurosawa film, it IS very good and very well made...far better than most British pictures of the era.

Made the same year - 1950 - as Rashomon which is acclaimed for retelling the same story several ways, The Woman in Question does the very same, allowing Jean Kent to portray five rather different versions of Astra, the fortune teller. The women in the film are much better drawn than the men, despite both the director and writer being themselves men, and despite the narrative framework of the all-male police team. Some would attribute this to Asquith's gay perspective. The combined portrait of Astra is not very flattering, especially her refusal to visit her dying husband, and in her using Pollard, the pet-shop keeper, to work for her for free, but then refusing his polite advances, she is walking a dangerous line. The underlying sadness of her person comes through, but she is not as sad as Pollard.

The outstanding secondary character is Mrs Finch, the nosey neighbour from next door who never stops talking. Hermione Baddeley, in the part, practically steals the first part of the film to the extent that the rest almost seems like an anticlimax. Her characterization, her way of speech, the hairnet and the pinafore, owe a lot to the English tradition of comical working-class characters that goes back to renaissance theatre, was developed in the Music Hall, and is a precursor of the Monty-Python housewives chatting over the back fence. That is, it is very easy to see her as done by Dan Leno or Al Reid. A change of emphasis and we have a drag routine.