Opiniones de usuarios

Overblown melodrama with Bette pulling out all the stops and putting any idea of subtlety aside. If you enjoy films where she turns in that sort of performance as opposed to her quieter work in films like Dark Victory or Watch on the Rhine than this is for you. Reunited with her Now, Voyager director but certainly not on a script of that calibre he seems unable to rein her in, everybody else tries to compete and while the rest of the cast turn in decent performances when Bette struts into view blowing smoke and popping her eyes no one else stands a chance. Filmed directly after one of her best performances in All About Eve and with new husband Gary Merrill in tow she apparently didn't think much of the script and as she sometimes did when faced with less than stellar material she plays to the balconies. Deliciously grand and over the top.

I appreciate this terse movie's smart script, staging, and tight editing, especially upon second viewing. Of course the nosy neighbor veterinarian serves mainly as a plot vehicle, but the role is well acted. Gary Merrill's George Bates seems lacking some refinement of expression. He plays it like an open book, and makes Bates a totally sympathetic character. The story hinges on the power plays between Bates and devious Janet as, chained together by their crimes, they struggle for the upper hand via her scheming and his brute force. Their tortured relationship could have a plausible chance for success, given the plot circumstances, but the secretary's fiancé Larry is in the way, creating a tension that draws the characters to the unhappy climax. Davis is in good form, and this is an entertaining film.

Since there is a finite number of Bette Davis films available for viewing in 2006, one has to value each for what it is. Although "Poison" may not be in her top 10, Davis is the master, and it is infinitely preferable to experience it than not.

I agree with other reviewers who found merit in this film. Maybe because I watched it "on a dark and stormy night," I found the film to have quite a few endearing qualities, including a sufficiently gloomy and Gothic setting, solid acting, a big dash of melodrama (sometimes unintentionally funny), some brilliant catch phrases, a couple of handsome equines, some much-needed tawdriness, intriguing real world background, an astute and meddling detective type, and of course Bette as the menacing, manipulative author of thrillers (undoubtedly as sordid as her behavior). I mean, what's not to like? Sure, the plot has some real twists that are beyond suspending disbelief, and the quality of the film isn't the best, but if you're a fan of the genre or Bette, then this is a must see. But first, pour yourself a stiff drink. Preferably, direct from the bottle.

Another in a long line of Davis' deliciously evil roles. This film has the same feel as "The Little Foxes", but with a bit more scenery chewing. I was a little puzzled as to some of the plot developments, but on the whole such things don't mean much when you're watching Davis and Merrill try to outmaneuver each other.

I didn't care much for the rest of the cast, but what does it matter? Davis makes it a very satisfying experience.

Okay, it's not an Oscar-winner, but this movie is a lot of fun, especially if you're a Bette Davis fan. The setting, a spooky, isolated British mansion, is strongly portrayed; by the end, you really feel like you've spent time some time within the oak-paneled walls. Bette looks just like she did in "All About Eve" -- same hairstyle and similar wardrobe, so it's easy to imagine that this could have been a Margo Channing movie. And of course her costar is Garry Merrill, with whom she also starred in "Eve." This was adapted from a stage play, so I think it's interesting to pay attention to the structure and limited changes of location, which are an indicator of its stage pedigree. This one shows up on TCM once in a while; sit back and enjoy.

Another Man's Poison is directed by Irving Rapper and adapted to screenplay by Val Guest from the play "Deadlock" written by Leslie Sands. It stars Bette Davis, Gary Merrill, Emlyn Williams, Anthony Steel and Barbara Murray. Music is by John Greenwood and Paul Sawtell and cinematography by Robert Krasker.

A whole bunch of fun if expectation levels are correctly set. Another Man's Poison is essentially a one set piece (confirming its stage origins), with primary focus on just five people and a horse. It's a tale of murder, deception and carnal desires, the latter of which is wrung out via Janet Frobisher's (Davis) affair with a much younger man who happens to be the intended of her secretary.

Frobisher is quite frankly a bitch, something which Davis attacks with relish and no little amount of histrionic camp. She's the fulcrum of the story, but all the other key characters here are either stupid, ignorant, devious or all three in one go! Oh yes, this is a regular hot- bed of people you really wouldn't want to be hanging around with for long.

It's these characterisations that along with Krasker's photography just about earns the pic its film noir badge. The script isn't up to much - where stories about changes being made by Williams and Davis and Merrill (hubbie and wife) being unhappy – are common place, but it never outstays its welcome by being boring and Bette being batty is always good entertainment. 6.5/10

Still fresh from their success and newfound love in "All About Eve," Bette Davis and Gary Merrill made this independent film, "Another Man's Poison," based on a play by Leslie Sands.

Davis is Janet Frobisher, a successful mystery writer living in a mausoleum of a house out on the moors. When her husband's partner in a bank robbery comes there looking for him, Frobisher announces that he's in the study - dead from the poison she gave him (medicine intended for her beloved horse, Fury). While they're attempting to dispose of the body, Frobisher's paramour, whom she summoned earlier, arrives with his fiancé (who is also Frobisher's secretary). The bank robber, named George Bates, introduces himself as Frobisher's estranged husband and settles in.

This is a neat, atmospheric story with an edgy, vital performance by Davis. Merrill, ruggedly handsome, is appropriately gruff and sinister. Though his character thinks he and Frobisher might really have a chance at playing house, his competition is the very handsome, young Anthony Steel, a popular British matinée idol of the '40s. Emlyn Williams is marvelous as the nosy, annoying veterinarian who keeps stopping by.

"Another Man's Poison" seems to have been made rather cheaply - the print I saw was not of great quality, and the lighting is on the dark side. Though the setting is somewhat static because it was originally a play, the film is very intriguing, and Davis always worth seeing. Highly recommended.

I'm sure it's all been done before, but if you are a Bette Davis fan like me, then you know that few do it better. A lovely-haired Davis and then-husband Gary Merrill play off of each other alternately uninterestingly or with fireworks, all in the same film. Merrill's performance is pretty uneven. I can't say I've seen too much of his work, but he's usually better than he is here, given the fact that his character is betrayed-angry-man-done-wrong. Here his performance lacks energy.

The double-crosses come thick and fast in this one, so the viewer must pay attention to the (sometimes quite good) dialog, or confusion may strike.

The other couple in the film, Larry and Chris (Anthony Steel and Barbara Murray) are bland to say the least. Steel is given more to do than Murray, and gives a semi-convincing performance as Bette's toy boy, but the character (as well as Murray's) is underwritten. The film is definitely a Davis vehicle, and she runs with the ball like the pro she is. Murray's lot is mostly stuck in reaction mode, but she does OK with what she has.

Goofy-looking Emlyn Williams plays pesty-neighbor-from-hell Dr. Henderson decently, and looks as though he is having a ball doing so. The Mr. Bigley character, representing, I suppose, a colorful local type, comes across as dense and reprehensible. What were the writers thinking there, I wonder.

The plot takes elements from various scenarios that we've all seen, and the result is not extremely coherent, yet very entertaining. The directing is great, with some wonderful shots. I enjoyed the film throughout.

I especially like the ending, and its retribution – as Davis' character says (something along the lines of): `thanks, I hadn't thought of that idea, but it'll work out fine.' Oh, the irony.

Bottom line: its strengths overcome its weaknesses – there are much worse ways to spend an hour and a half.

You never hated Bette Davis so much before. She could be criminal and nasty but never quite abominable, which somehow she is brought here to become more or less against her will by too many unexpected visitors to her house, beginning with her husband, whom you never see except as dead. It's a damned tricky plot, and Val Guest was expert at such things, making a criminal intrigue as inextricable as possible in order to have the great pleasure of having it all dissolve in the most unexpected possible but percetly logical way. The Gothic atmosphere of this chamber play is gloomily enhanced by the whole thing being filmed in Bette Davis' own home, here situated far away in the desolation of the Yorkshire moors. The music also underscores the tension of the plot, and the colloquial doctor (Emlyn Williams) who knows everything beforehand, which you dont get to know until after the end, doesn't make things easier for anyone. Only the young couple (Anthony Steel and Barbara Murray) get away unharmed, while the most upsetting case and victim of injustice of all is, as the doctor clearly points out, a horse.

It's a major display of meanness and super-excellent as such, but in all these towering passions of possessive love you despondently miss and lack the faintest shade of any human varmth and tenderness.

Janet Frobisher (Bette Davis) is home when a strange man bursts into her home. George Bates (Gary Merrill) demands to know where Mr. Frobisher is but Janet is evasive. So, George explains that he and her husband were involved in a robbery and the husband killed someone...and he wants to get a hold of him in order to prove he didn't do the killing. But, it's too late, and Janet introduces George to her husband....and he's quite dead! It seems she was sick of the jerk and after slapping her around, she poisoned him! What an interesting pair we meet at the beginning of the picture!

As for George, he's not about to just leave and decides to stick around...telling folks he's Mr. Frobisher. Considering that none of the neighbors ever met the man, it's an easy ruse. And, he knows Janet won't betray him because he knows about that pesky dead body sitting in the study!

While I really enjoyed Merrill's and Davis' characters (both were deliciously evil) and I do recommend the film, it is not perfect. It was originally a play and it's pretty obvious since the film is very talky and a bit claustrophobic. But the ending...well...that makes up for a lot!

A lot of great plot twists and a magnificent ending. Bette doing a great job of being Bette. Very entertaining if not perfect. Easy to find a free copy streaming.

Whisked away to make this murder-mystery with her newly hitched fourth husband Gary Merrill in Britain, a follow-up of her "all-time best performance" in Joseph L. Mankiewicz's ALL ABOUT EVE (1950), Ms. Davis recruits the director of NOW, VOYAGER (1942), Irving Rapper to take the helm, but overall, the final product is a secondary offering in every aspect.

ANOTHER MAN'S POISON, takes place in a Podunk Northern England town, mostly, sets in an isolated mansion inhabited by mystery novelist Janet Frobisher (Davis), who has no qualms about poisoning her long-absent husband when the latter gets rough, and soon is pressed into playing wife and husband with George Bates (Merrill), her husband's bank-robbing accomplice, on the contingency to cover for her crime and grant George a haven to stay, one stone two birds? Hardly so.

The imposter game is played out with barbs and ploys duly leveling at each other, while Merrill is fierce enough to be alternately menacing, callous and wanton, winning an upper hand for him is a forlorn hope from the very start in the face of Davis' characteristic wide-eyed fearlessness and insidious fickleness. Firing on all cylinders, her madness and vile calculation completely overshadows the danger befalling on a woman mired in a precarious situation, thus not for one second, audience dreads for Janet's safety, which makes her a less all-around character for the sake of characterization. She is no man's fortune and all man's poison, yet, Janet still enjoys a last laugh before ironically hoisted by her own petard.

Also enmeshed in the fix (though unwittingly) is Janet's secretary Chris Dale (a comely Murray, calmly nerves herself to confront Davis in a poorly designed role) and her fiancé Larry (a blandly handsome Steel), who actually is Janet's paramour for almost a year. While the bloom is clearly off the rose, Davis (at the age of 43) pluckily knuckles down the cougar town and as this reviewer sees it, takes more pleasure in the scenes where a youthful Chris concedes defeat to her and implores her to give Larry back, lines like "you are a charming woman who can have any man you want." appear many time to reassure Davis that her appeal still prevail (over her much younger competitors), but in hindsight, a self-defeating whiff of deep-rooted insecurity is all one can sniff.

British actor Emlyn Williams, third-billed as the nosey-parker, smart-aleck veterinarian-turned-amateur-sleuth Dr. Henderson, has never bedded in felicitously in his somewhat vexing and often unaccountable blow-ins, a better script can offer more coherence, and one thing is for sure, this film-noir does pull out all its stops to suffix poetic justice in its cockamamie plot.

In New Yorkshimore, the adulterous writer of mystery novels Janet Frobisher (Bette Davis) is surprised by the stranger George Bates (Gary Merrill) that is waiting for her inside her isolated house nearby a lake seeking out her husband George Preston. Bates tells Janet that her husband and he had robbed a bank; however her husband panicked in the heist and shot a guard. Janet tells that she is alone and surprisingly reveals that she had poisoned her husband and shows his body in the office. Out of the blue, her nosy next door neighbor Dr. Henderson (Emlyn Williams) pays a visit to her and George introduces himself as Janet's estranged husband that was traveling in Himalaya. Then they decide to dump the body in the lake, but Janet's secretary Chris Dale (Barbara Murray) and her fiancé and Janet's lover Larry Steven (Anthony Steel) arrive for the weekend and George dispose the corpse alone. Along the next days, the situation becomes tense with the quartet while Dr. Henderson snoops the house. When George kills Janet's horse Fury, the cynical writer plots a plan to gets rid of the inconvenient George.

"Another Man's Poison" is a theatrical film shot practically in one location with a plot about murder and adultery that is indeed a witty mouse-and-cat game. The fantastic Bette Davis plays the role of a devilish selfish woman that only loves her horse Fury. Emlyn Williams performs an irritating character and only in the end there is an explanation for his annoying attitude. The conclusion is ironic and the black-humor is moralist in a certain viewpoint. My vote is seven.

Title (Brazil): "Mulher Maldita" ("Damned Woman")

Mystery novelist Bette Davis has taken a house on the Yorkshire Moors, an inhospitable mausoleum that puzzlingly draws a number of unexpected visitors. One evening she returns home to find a stranger (Gary Merrill) ensconced in an easy chair. He has come to settle accounts with her ne'er-do-well husband, with whom he pulled off a robbery in London that ended with a policeman's being shot. Unfortunately, Davis has just poisoned said husband, whose body stiffens in the library. A quick shift in circumstances has Merrill posing as the husband, an inconvenience since Davis is also having an affair with the fiancé of her young secretary....

Another Man's Poison started out as a stage play, with the result that it's talky and contrived. Hardly a scene goes by without interruption from one or another of those visitors crashing in through various doors. Among them is snoopy veterinarian Emlyn Williams, whose lucky patients are generally dumb. Davis and Merrill plot against each other with all the ingenuity of Elizabethan revenge tragedy – even Davis' pet steed falls victim to the murderous ploys.

Between Davis' spectacular comeback in All About Eve and her startling second comeback in Whatever Happened to Baby Jane, she had some lean years with poor parts. When she lacked a full-blooded character to play, her acting became sharply mannered and elocutionary, as here. Fans of thrillers written for the British footlights, like The Mousetrap or Williams' own Night Must Fall, may find Another Man's Poison reasonably satisfying; it's a contraption, and once it's over there's no need to think back on it. But it is decidedly lesser Bette Davis.

That extended opening scene is like a showcase for real-life marrieds Davis and Merrill. Looks like she may be introducing them as a couple to American audiences. It's an apparently low-budget British production with a small cast and a single rural location site. As the conniving Janet, murderer of her inconvenient husband, Bette gets to evil-eye and puff her way through 90-minutes of theatrics. And with a ton of unflattering close-ups. At the same time, George (Merrill) tries somberly to deal with Janet's schemes, as they cover up her husband's murder in a secluded British estate. Only pesky Dr. Henderson (Williams) gets in their way.

I'm not surprised the film is rarely mentioned among Davis's triumphs. The plot shenanigans are convoluted, theatrics abound, and talk is only relieved by spectacular scenes of the Yorkshire moors. Moreover, calling the results noir, amounts to a stretch. I did, however, like the upshot scene, a neat bit of irony. Nonetheless, showcasing the two leads tends to over-shadow both story and character. Good thing directors Rapper and Guest do their best at pacing the difficult material. Anyway, whatever the drawbacks, the film should please fans of Bette; but for others, it's mainly a matter of taste.

Janet Frobisher is a successful writer of mystery novels who lives in a remote house on the Yorkshire Moors. She is estranged from her husband, a man with criminal tendencies, and is having an affair with the fiancé of her secretary. One day she returns home to find a strange man, He identifies himself as a criminal associate of her husband. At first she tells him that her husband is not there but eventually admits that he is... but he is dead! She poisoned him. The interloper offers to help her get rid of the body and then starts impersonating the dead man who none of the locals appear to have met. He quickly makes life very difficult for her. Tensions rise but he may not be as easy to get rid of as her husband. Things are only complicated by the curious local vet.

If you enjoy melodrama then this is the film for you. Protagonist Janet is clearly not a good person but, largely thanks to Bette Davis's delightful performance, is likeable in the way one can only really like somebody if they are fictional. Gary Merrill, Bette Davis's real life husband, is equally solid as the antagonist... a character who is deliberately unlikeable. The rest of the cast is solid if distinctly secondary. While most of the action takes place within the house the occasional outdoor scene gives a sense of the isolated moorland setting. The rules of the genre mean most viewers will know what to expect in the end but seeing how we'll get there and the exact details are a lot of fun. Overall a solid melodrama that fans of the genre will want to see.

Bette Davis plays a famous mystery writer, Janet Frobisher. Her next door neighbor happens to be the local vet who gives her a lift home on a dark auspicious night. She claims her phone lines were down and she walked all the way the abandoned train station to use the phone there for "business". The good vet gives her a ride home talking about the difficulty of figuring out the plots of the thrillers she has turned him on to.

When she arrives home she is set upon by a stranger. A stranger who apparently was in on a bank job gone wrong with her husband. She had left her husband three years ago, he was a blackmailer and all around nasty guy. This stranger was supposed to meet up with him there....only...

"I decided that was the last time he'd ever hit me. I brought him his drink and I put something in it."-Janet.

Her plan was to weight his body down with stones into the deep lake behind the stables.

Since no one has seen the husband the stranger decides that he can pretend to be her husband! This is how he becomes "George Preston", her real, not pen name.

"It's wonderful what new clothes do to you!"-George Bates

Then her secretary, Chris, shows up with her fiancé Larry...who has been lover to both Chris and Janet! This really throws a wrench into things, now that Janet's "husband" is back.

"Mrs. Preston, from now on I'm giving the orders in this house."-Janet

This was a great film noir. Two people who need each other but don't like one another...with a sneaky lover and secretary all under the roof of one large country home. Bette Davis' Janet is no weeping willow!

Even an excellent cast can't redeem this appalling and ridiculously plotted so-called thriller that Bette Davis and her then husband Gary Merrill made in Britain in 1951. She's a crime writer who has murdered her husband and he's a bank robber on the run who poses as the dead husband, (don't even think of asking how any of this came about). She's also having an affair with her secretary's financee, (Anthony Steel), and then there's always the nosey vet from the neighbouring farm, (Emlyn Williams). It was based on a play by the actor Leslie Sands and you can tell, (Val Guest, of all people, did the adaptation), and was directed by Irving Rapper. It's far from one of his best efforts. In what may be her worst performance Bette camps it up like a parody of herself with only Emlyn Williams coming out of it with something like his reputation intact. Needless to say, it wasn't a hit.