Torrente pasional

Joseph Cotten was an outstanding actor whose talents have been terribly under-appreciated. He is great in this movie as an abusive husband. The very sexy Marilyn Monroe is his wife, who is having an affair with another man. They meet a pair of young newlyweds on their honeymoon. Max Showalter as the young husband is one of the most annoying characters I've ever seen. Jean Peters as his bride does the unthinkable, managing to look almost as beautiful as Marilyn herself.

This is a suspenseful and entertaining movie, which makes great use of the scenery surrounding Niagara Falls.

I rented "Niagara" for two reasons: one, the obvious reason to see Marilyn Monroe in such a unique role for her, and two, I always liked the idea of a side character (in this case, Jean Peters) getting inadvertently swept up in the intrigue of the main characters (Monroe and Joseph Cotten here). It's rare that the supporting characters of a film are integrated so well into the plot. Usually, they disappear or are seen less of as the plot progresses. (eg: the inexorable quirky friend of a leading lady in far too many thrillers) But I digress.

The plot is fairly simple, or so it seems. Polly and Ray Cutler (Peters and Max Showalter) are a young couple heading to Niagara Falls for a delayed honeymoon. Upon their arrival, they meet Rose and George Loomis (Monroe and Cotten), who are over-staying in their time in the Cutlers reserved cabin. Though Polly and Ray agree to stay in a nearby cabin, that is not the last they see of the Loomis's, a strange couple indeed. One day, Polly sees Rose passionately kissing another man (Richard Allan). Then, the sly Rose angers her husband by playing a seemingly reminiscent song on a record player a few other couples are dancing to, pushing George to destroying the record in his hands. It becomes apparent that something far more than infidelity is going on, and without giving away too many of the plot twists, murder ensues.

One of the things I really loved about this movie was how timeless it was. The actors, or at least Monroe and Cotten, may be familiar actors of the time, but this movie could be done at any time, and seem appropriate. And speaking of actors, the acting in this movie, for the most part anyway, is wonderful. Monroe, needless to say, was flawless, and I loved every second she was on the screen. Joseph Cotten, as he did in Hitchcock's "Shadow of a Doubt," has the ability of being very intimidating, almost brooding, and was terrific. Jean Peters gives an Oscar-worthy performance. She's very realistic, and impeccably likable. She manages to almost steal the movie from Monroe. I'm sorry to say Max Showalter was, well, really quite flat. The worst of the lot. Good thing he wasn't in a large role, though he still is one of the stars of the film. In supporting roles, Denis O'Dea gave a typical detective role as Inspector Sharkey, popping in once in a while. Richard Allan had little to do as Rose's lover Patrick. Showing up later in the film were Don Wilson and Lurene Tuttle as Ray's boss and the boss's wife, at Niagara Falls to vacation with the Cutlers. Both were excellent, though their roles were somewhat small. I liked the addition of their characters.

The chemistry between all the characters is terrific, particularly in the scene where Polly is bandaging George's hand after he breaks the record. The two of them have many scenes together, and I loved how Peters and Cotten interacted with one another. Showalter seemed consistently nervous around Monroe, while on the topic of spouse-switching, so to speak.

Overall, "Niagara" is very engaging. There is a good deal of action, especially towards the end. The chase scene through the bell tower was suspenseful, and the climax on the falls was absolutely wonderful. Polly proved herself to be very tough and a quick-thinker, and, throughout the rest of the movie, I liked how she didn't turn to Ray every time a problem arose. (Which made the final confronation between only her and the other character so much fun, because no one could save Polly but herself.) I think that's why I liked her character so much. Though, one thing to note, is the sort of silly-looking moment during the scene towards the end of the movie when George is pursuing Polly along the Falls (muted besides the sound of rushing water) and she slips and breaks through the wooden banister. It was a startling scene (I honestly thought she'd fall) but sort of funny, the way the movie sped up quickly to make it look to sudden. Oh well, blame it on technical abilities.

I definitely recommend this film, not just for Hitchcock fans and Monroe fans, but for anyone, even if you don't like older films. This one is a classic, but at the same time, feels as if it could have been made only twenty years ago, not almost fifty.

Marilyn hype aside, this is quite a good thriller. The sheer drama of the falls merge strikingly into the story as a whole. Some of the camera angles really showcase the waters in their crashing majesty, a sinister backdrop to the shadowy events. Then too, I hope TCF gave poor Jean Peters hazard pay for the way she gets doused around in that little boat. No glamour girl there.

I expect the movie's overall quality is due to director Hathaway, long one of Hollywood's most underrated movie makers. Catch, for example, that marvelous overhead shot in the bell tower of Marilyn lying dead. It's a composition worthy of the best of Welles. Also, I kept watching for process shots, Hollywood's usual expedient when dealing with difficult action set-ups. The only one I could spot in that long river sequence is Peters on the rock awaiting rescue. To me, that's quite a feat of expert movie-making.

Nothing special about the storyline itself. Faithless wife Monroe two-times her unbalanced husband Cotten who then stalks her amid the touristy Niagara setting. In fact, Cotten gets to do a lot of sinister lurking around. On the other hand, wholesome newly-weds Showalter and Peters make a charming, non-sappy contrast to the other couple-- and I'm not surprised that in real life, the notorious love-'em and leave-'em Howard Hughes ended up marrying the no-nonsense Peters. My only gripe is with the ever-exultant Don Wilson. He was such a good pitch-man on TV, but here it's like he's trying to sell us his glad-handing role instead of acting it out.

Anyway, the movie remains more than simply Marilyn's breakthrough role-- good as she is-- and can stand on its own as an expert scenic thriller.

Although I think Marilyn Monroe suited comedies better, this somewhat hitchcockian thriller is nevertheless a convincing demonstration of her more serious acting abilities, and also one of the finest films she starred in.

"Niagara" introduces Monroe as a seductive, wily wife wanting to get rid of her jealous husband (a very good Joseph Cotten). Her lover, an awfully small and stereotypical role, is played by Richard Allan.

Funnily enough, it seems that it's Jean Peters who has the film's biggest part. As the innocent honeymooner, her character is clearly designed as a contrast to Monroe.

The breathtaking surroundings of the Niagara Falls are a significant supplement to the film's atmosphere.

Niagara is one of those wonders who came out of the dream factory of the fifties and still manage to leave deep impressions in fresh viewers. Technically it is simply perfect: the story is like in a film noir, but Niagara is anything but «noir»! This is a true color movie with high artistic and aesthetic value. The best possible use was made of the location; it is an idealized place for honeymooners, with gleaming surfaces, gaudy colors and happy faces. The viewers see the postcard-image of the place – it's the era of President Eisenhower, renowned for its uplifting moral integrity, right? But behind the surfaces are dark rooms, depression, madness and scheming thoughts. Innocuous facades conceal quarrels, discontent and eventually murder. And in its midst roars the waterfall, at once beautiful and menacing. The message of the movie is conveyed largely through pictures, the location not the screenplay is the story.

The actors are part of the location. As far as I can remember there are hardly any close ups. Marilyn Monroe looks feverish and disturbed throughout, she elicits compassion rather than arousing sexual desires. Joseph Cotten is very good in the role of her confused and deranged husband. His mental condition seems to stem from war experiences (although in the movie this is treated as a kind of a side remark, its being mentioned is worth remembering, it happens seldom enough). To the disturbed couple are added a «normal» couple and an older, «seasoned» couple (very good, sensible performances by Lurene Tuttle and Don Wilson). The cast aptly represents the chances and pitfalls of life and human relations as behind them water flows down the river and falls over the edge.

Niagara shows a highly artistic approach to a specific place and uses symbols in the way of earlier black and white movies. I can highly recommend it to everyone. It is a pity that the potential of the technical means of this kind of widescreen color movies was not explored further in that direction, creating a direct link between the style of film noir and that of «film couleur». The wet asphalt in the early morning light is just unforgettable.