Heisse Spuren

Secretary Sharon Carlin (Mala Powers) heads from Los Angeles to San Francisco via train on a business trip. Things go bad the moment the train leaves the station as she is met in her cabin by a dead woman and a man with a gun, who knocks her unconscious. She is woken up by a cop who tells her the body has been moved and she is being charged with murder. She jumps off the train and soon runs into good Samaritan Paul Colbert (Jacques Bergerac). He initially believes her story, but then begins to have doubts when she reveals she spent time in a mental institution for murder. This 77-minute picture moves at a fast pace and has some nice twists in it. Viewers will actually start to doubt Sharon's story and her paranoia is well established. Not a classic, but worth watching once if just for the scene where Colbert's son cracks his forehead on the dashboard in a near crash.

Sometimes one runs across an Academy Award level performance in a B film and the performance doesn't get the attention it should have. Mala Powers was a remarkably talented actress who rarely got to show off what she was capable of doing, being used largely as decoration in things like fifties horror movies because, alas, she was quite attractive and in those days of Piper Laurie, Lori Nelson, et cetera, young attractive ladies were often cast in slop. But in this highly watchable effort Mala Powers gives what amounts to a complete acting class as she pours her heart into this stunning performance which has to be watched several times to be fully appreciated. Ms. Powers taught the Michael Chekhov school or style of acting professionally for many years but she could certainly show her students this work as evidence that she knew what she was talking about. In this acting theory, the Chekhov-influenced actor attempts to indicate through gestures a reflection of the interior or psychic anguish that is being felt. Movements and gestures must be true and effective and lively but not forced and inappropriate or unnecessarily exaggerated. If you just take isolated scenes and you know the plot, you can watch her emotional display and her gesturing and how organic and integrated they are. There are no false moves, no exaggerated gestures and no grandstanding. Ably supported by Jacques Bergerac as a troubled man who seems to find highly troubled women to court without even trying, Mala Powers keeps us wondering about her sanity until the rather feeble and highly implausible ending moments but it's well worth a watch for people who like to curl up and watch a pretty good mystery thriller with one performance that goes way beyond what one would expect and which shows the post-Slanislavski school (Slanikovsky was Chekhov's teacher) in all its raging glory. It's a must-see for serious acting students. I hope this review does not sound too artsy for the viewer-- it's one of the gutsiest performances in a film that I've seen!

Mala Powers mistakenly thinks she can FEAR NO MORE when Good Samaritan Jacques Bergerac finds her lying in the middle of the road after she escapes the policeman who arrested her for the murder of a woman on a train. He takes her to her place where there's another dead body and the couple get an even bigger surprise when they go to her employer's house and find the cop and the "murdered" woman there, insisting she's insane. Jacques doesn't know what to think when he's told Mala is also an escapee from a mental institution after having killed her previous employer. WTF?

Jacques Bergerac, handsome star of stage, screen, and tabloid scandal, was like a suave, Gallic version of Mike Henry whose thick French accent made him hard to understand half the time but it never mattered much since he was usually just eye candy anyway. As luck would have it, Jacques is called upon to react instead of act in this "twisty mystery" that's not half bad if you don't examine it too closely and, in its defense, you don't get the chance. Bottom line: it's a fast-moving B- movie held together by Mala Powers, a pretty good little actress, something I never noticed before.

Fear No More is a Hitchcock lite low budget noirish conspiracy thriller. It was the only film made by director Bernard Wiesen. The rest of his output was television shows.

Sharon (Mala Powers) is a secretary taken to the train for a business trip to San Francisco by her employer's chauffeur. He puts her on the train and gives her an envelope for an errand.

In the compartment she finds a stranger and a dead woman. She is knocked out and when she regains consciousness. A cop accuses her of murder. Sharon manages to escape from the cop.

She is almost run down by Paul (Jacques Bergerac) a Frenchman taking his son back to his ex wife Denise. Paul gives Sharon a lift to her Los Angeles apartment where she lives with Keith.

Only when she returns to the apartment after going out for a drink with Paul. Keith is dead and the same killer from the train pursues her.

It transpires that Sharon had a mental breakdown. Maybe she is mad or paranoid. Her employer Milo Seymour tells a different story. Sharon was not sent on a business trip and stole $3000 from his safe which is in her envelope.

Not only that, the dead woman from her train compartment walks in. She is alive and well and claims to be Milo's wife.

Despite the low budget, there are a lot of twists as it seems Milo has elaborate plans of his own. The ending does get very hysterical and melodramatic which is a bit of a let down.

Although French ,Jacques Bergerac made only two movies in his native land :"un homme se penche sur son passé" and a small part in "Marie-Antoinette Reine De France "where he is virtually unknown ; is it because of that that his name in the movie is Colbert (like Claudette ,who is famous both in the US and in her native land)?

"Fear no more " is an excellent Hitchcokian thriller , with a solid screenplay,and good acting ,particularly by Mala Powers ,lost in a nightmarish set -up : as soon as they arrive in her boss's house, there's no more letup as the story continues to build in suspense and intensity as the interventions become more and more overwhelming for the heroine -who spent some time in a mental hospital- who thinks she's losing her mind -and her only ally does too;Helena Nash's face recalls several hitchcock's villainesses (" the man who knew too much" 2nd version ,"notorious" )

And the screenwriters had not forgotten Hitchcock's lesson:expect the unexpected ; the sudden new developments are numerous all along the movie ,and the supporting characters are not cardboard ( the child's mother is not so petulant, Seymour is not so strong);but the movie belongs to Mala Powers ,whose facial expressions ran the gamut from pain to terror to rebellion.