La obsesión trágica

"The Madonna's Secret" is a pretty good film. Had it offered more red herrings and possibilities, it would have been even better.

James Corbin (Francis Lederer) is a famous painter who is hiding out in America. Why is he hiding? Because back in Europe one of his models was murdered and he was tried for this crime. Although acquitted, his reputation has been ruined. He is still painting however and once again he's fallen in love with his model...and she soon is found dead!! Once again he's arrested but they have to release him because he had an alibi. But a reporter insists that Corbin in guilty and convinces the recently murdered model's sister (Ann Rutherford) to become the next model to get the goods on Corbin. However, she and another model both soon fall in love with the guy! Are they destined to die as well? And, most importantly, who is doing this and why?

I think the plot was very, very clever and I enjoyed the movie. But it had a few things that should have been done a bit better. First, having Rutherford's character fall in love so easily, considering her sister just died and he might have done it, seemed unbelievable. Second, there just weren't many possible killers introduced during the course of the movie and I correctly guessed their identity almost immediately. A few red herrings definitely would have added to the suspense. Still, despite a few problems here and there, a dandy picture.

Francis Lederer is a successful painter who uses Linda Stirling as a model, but only her body, the face is that of a model from a previous life in France. That model ended up murdered, but Lederer was cleared all of charges, and he moved to the US with his mother. After Stirling begs him to paint her face too, he does. And she ends up murdered as well, in a similar fashion as the French model. Theater columnist Edward Ashley knows about Lederer's past and points the police to him, but they can't make a case. Stirling's sister Ann Rutherford tries to investigate and becomes a model for Lederer herself. Meanwhile a portrait hanging in a gallery has attracted the attention of wealthy socialite Gail Patrick. But when Lederer refuses to sell it to her, she gets him to paint her portrait. The murders are not yet done...

This movie is a competent Republic noir/mystery, that has a slight Gothic feel to it due to the painting angle. Lederer does a nice mentally tormented artist, and Rutherford is great, backed by a solid cast. The story is nothing too special, and neither is the identity of the killer (the suspect pool is rather shallow), but the movie isn't dull, altho it is a bit talky in parts... And it has a memorable torch singer meets knife-throwing act scene at a nightclub. That lady has nerves of steel!

The DoP for this movie was John Alton. Needless to say this movie looks the part (helped by the great looking print I saw). Beautiful shadows, coming from all angles, but also done tastefully and subtly. Director William Thiele does a nice job too, and the cast & crew make this a movie that rises above its Republic standard. Good stuff, recommended! 7/10

Francis Lederer is a painter haunted by his past, using Linda Stirling as his model, but painting the face of his dead model in Europe. He was a suspect in her murder by drowning, but nothing concrete was proven, and so he went free and came to America.

Now he has fallen in love with Miss Stirling and now she too is dead of drowning. Police detective John Litel hounds him, but he has an alibi, and suggests he has an enemy. The cops have to let him go, but they play a spy in his home. Is it Miss Stirling's sister, an actress, or is it rich Gal Patrick, who wishes to buy Lederer's last painting because of the notoriety, or is it Ann Rutherford, who says she has been sent by the modeling agency? Lederer hires her, and while she is changing, he looks in her hand bag and discovers a gun.

It's in interesting set-up for a film noir, and DP John Alton shoots strong, sharp shadows of prison bars. William Thiele directs from a script he co-wrote. It's a good cast, and worth a look, despite a slightly botched ending.

Brisk suspense movie that holds the attention - even if the baddie does seem rather obvious from early on in the proceedings.

Directors today are a lot more sophisticated than they were when 'talkies' became a thing... and that's not always a good thing. Often the director's fingerprints are all over a good story and they just serve to dilute the narrative, not make it better.

So; for old folk like me, it's a nice change to see scenes blend simply together, no silly timeline confusion and best of all - every camera is firmly attached to a tripod!

The Madonna's Secret follows the life of a tortured artist as he faces accusations of multiple murders. His beautiful models seem to meet with unfortunate endings and the cops all think they point to the painter.

Perhaps they do, as he hears voices, has bad dreams and forgets chunks of his life. Perhaps they don't as there are circumstances that point to other culprits... Most of you won't have to wait till the end to find out as the more perceptive will see the guilty party telegraphed before you, long before the players do!

With that said, it's still a good fun ride buoyed by a really good cast of actors even in the minor roles. Will Wright is a treat doing what he does best... crusty old geezer down by the river! (You'll recognize the face as he was in every movie made in the 40s and every TV show made in the 50s!) And there are endless other similar cameos to put names to in this yarn.

Worth a watch.. and right now it's free on YouTube!

Not sure if this strictly a noir film as it runs as a mystery as well. Some evidences of film noir would be the dramatic cinematography, a character that is somewhat of a Femme Fatale, a feeling of hopelessness in the current status quo, and of course, the criminal element that pervades most scenes. Against it being noir would be that this film is not about the average man, but a well to do artist. Also, the fate angle doesn't seem quite pronounced here. The acting is great throughout with special kudos for Francis Lederer and his creepy accent. The cinematography is uniformly superb. Of course, any film shot by John Alton is special. This is a rare film and currently only shown at film festivals. Hopefully it will show up on DVD someday.