El secreto tras la puerta

Fritz Lang's "Secret Beyond the Door" is a moderately interesting noir. The story, like "The Uninvited" and "Shining Victory" is reminiscent of Hitchcock's film "Rebecca." I say Hitchcock's film and not DuMaurier's 1938 novel, because surprisingly, the novel only sold 20,000 copies and was not a success. I imagine the film changed that.

The story concerns a beautiful woman, Celia (Joan Bennett) who falls madly in love with a mysterious and moody man, Mark Lamphere (Michael Redgrave) whom she meets while on a trip. She goes to live with him at the family home, which is run by his sister (Anne Revere). It's there she discovers a few things. One is that Mark was married before, is a widower, and has a son (Mark Dennis). Mark also has a secretary (Barbara O'Neil) who covers one side of her face with a scarf to cover a scar from a fire. Mark, she finds, also has a wing where he houses a collection of rooms in which famous murders have taken place. There is one room, however, which is always kept locked. Celia wants to know what's beyond that door, and what makes her husband so moody.

"Beyond the Door" takes inspiration from two other Hitchcock films, Spellbound and Notorious, and taps into the postwar interest in psychology. There is a voice-over narration from the troubled Celia, who recounts her dreams. The film is very atmospheric, the music grand and suspenseful and, though one may be able to guess how it ends, the story is very intriguing. The ending, due to some narrative gaps, is somewhat disappointing.

This isn't Lang's best film but one can certainly see the master's touch in the gloom, the fixation on the door, and the cinematography. Joan Bennett (whom I saw in person and was unbelievably tiny) shines as she usually did under Lang's direction. She could play both sophisticated and glamorous as well as trashy and sweet-smart. Here, in a funny way, she combines both - the character is a bit of a classy femme fatale. Redgrave is properly passionate one minute and distant and a little weird the next. I would have loved to have seen someone like Dirk Bogarde tackle this role a few years later.

Derivative but very good.

Celia Barrett is a New Yorker with a trust fund and one of the city's most eligible single women. On a trip to Mexico she meets and falls for the charming Mark Lamphere, and later the couple marry. Returning to his home and pushing him to let her finance his passion for collecting "rooms", Celia starts to suspect that all might not be right with this perfect man she has landed and indeed the secrets in his house and in his past soon start to mount.

I watched this on the back of positive reviews from a couple of people on this site; perhaps I should have read further though because I didn't find the wonderfully intelligent noir that they claimed to have seen. Perhaps these commentators have not seen the film Rebecca which sort of covers similar themes but does it much, much better than this film does, but for me I found it hard to care about this. Visually I liked it and credit to Lang because his direction and work with his cinematographer does produce some really well set up scenes that do have great atmosphere. However this is not repeated in the material which is not as intelligent as it would like to think itself. Indeed it is terribly overwrought and melodramatic and offers little to counter it.

As a result the cast have to thanklessly play it up the best they can. I thought than Bennett did as good a job as she could have hoped to have done. She isn't brilliant though but she plays detective well. More important but not much cop is Redgrave; OK the blame lies more on the material than in his performance but given how little was conveyed by words at times, his performance was important but not up to the task.

Overall then, a fairly overdone melodrama that doesn't really convince in how it uses psychoanalysis to inform and direct its narrative. It may look great but the substance just isn't there from the start right down to the insultingly simplistic final scene.

Fritz Lang's creepy and atmospheric psychological thriller, 'Secret Beyond the Door (1948),' faces just one major obstacle that prevents it from being a completely satisfying film experience: the story is quite obviously derived from Hitchcock's 'Rebecca (1940),' which happens to be a superior film in almost every regard. This is not to question the talents or originality of Lang, since, of course, he was already an established director before Hitchcock ever got his break, but you can just tell how much this particular work was influenced by the Master of Suspense. Borrowing elements from the then-prevalent film noir movement, and adding shades of post-marriage paranoia from the likes of 'Rebecca' and Cukor's 'Gaslight (1944),' Lang also mixes in snippets of Freudian psychoanalysis, not unlike what I witnessed last week in Hitchcock's own 'Spellbound (1945).' The final product is not without its charm, and contains various moments of precisely-articulated suspense, but you can never overcome that niggling feeling that you've seen it all done better.

Joan Bennett plays Celia, a young lady who acquires a large amount of money after her brother's death and decides to take a holiday. It is here that she meets Mark Lamphere (Michael Redgrave), a mysterious and charming gentleman who excites in Celia intense suppressed feelings of rebellion and exhilaration. Following their marriage, a hastily-decided proposition that can only lead to trouble, Celia immediately begins to notice peculiarities in her new husband, and, after her arrival at Mark's extravagant residence, she finds the dwelling haunted by the shadow of his previous wife. Mark, it seems, houses an unhealthy preoccupation with murder, and has made a hobby out of collecting entire rooms in which unspeakable atrocities of passion were committed. But what of the one room that is kept securely locked, never to be opened by anyone? Celia concludes that the secret to unlocking the inner depths of her husband's disturbed mind lies within that single room, beyond the forbidden door. Though Silvia Richards' screenplay, from a story by Rufus King, often seems too incredible to take seriously, Lang's film remains an interesting achievement, and is nothing if not entertaining.

I found the promotional material for 'Secret Beyond the Door' to be grossly misleading. The image of Joan Bennett standing before a significantly-distorted door prompted me to expect a film of extreme German Expressionism, in the same vein as 'The Cabinet of Dr. Caligari (1920).' Fritz Lang, who developed his career in Germany during the 1920s, and having often used elements of the style, would presumably have been very adept at recreating the devilishly-twisted labyrinths of the human mind, but the only scene to even approach my stylistic expectations was the appropriately ambiguous and shadowy dream sequence, in which Michael Redgrave both prosecutes and defends his malevolent tendencies in court {this particular scene may even have influenced Hitchcock's heavily-stylised courtroom trial in 'Dial M for Murder (1954)}. The remainder of the film has the appearance of a typical 1940s film noir, with suitably shadowy cinematography by Stanley Cortez, supplemented by a voice-over by Joan Bennett. Also note the similarity between the character of Miss Robey (Barbara O'Neil) and Mrs. Danvers (Judith Anderson) from 'Rebecca,' most particularly in their respective final actions in each picture.

Pseudo-Hitch intriguing drama about a woman who gradually realizes she is married to a killer and may be next on his list .This classic suspense film contains emotion , intrigue , chills, and evocative scenarios . When a lovely as well as wealthy heiress named Celia (Joan Bennett) spends a fun holiday she meets a good-looking guy called Mark Lamphere and ends up falling in love with him . Later on , she marries the widower (Michael Redgrave's first American film) and finds out weird happenings about him . She and her new husband, settle in an ancient mansion on the East coast, she discovers he may want to kill her . Understandably , she wonders what plans he might have for her . The mansion has got a lot of rooms that are replicas of known murder sites . In the tour of the three rooms, Mark Lamphere recounts the tales of three murders, all of which are fictional. However in the first room, he mentions the St Bartholomew's Day massacre and the Guise family in France. The massacre is a real historical event, where French Roman Catholics attacked French Huguenots (Protestants) on 24th of August 1572 resulting in many deaths.

Dazzling Hitch/style suspense movie about a beautiful woman marries a rare man with a shock revelation around every corner their mansion . It packs hallucination , treason , Bennett plays a rich wife trying to help her hubby , well played by Michael Redgrave , who is suffering from amnesia and who might be a murderer too . The picture takes elements from classic Hitchcock films , carrying out a crossover among ¨Suspicion ¨, ¨Spellbound¨ and ¨Rebeca¨ . In fact ,Fritz Lang's attempt to do his version of Rebeca (1940) was a project fraught with disaster. It ran over budget and over schedule, while Lang was at constant loggerheads with his leading lady, Joan Bennett . As it stars the great Joan Bennett , being compellingly directed by Lang ; but it is not as outstanding as their former movies together : ¨Man hunt¨, ¨The woman in the window¨ and ¨Scarlet street¨. Support cast is pretty good such as Anne Revere as Caroline Lamphere , Barbara O'Neil as Miss Robey and Paul Cavanagh as Rick Barrett .

Atmospheric as well as mistly cinematography in black and white by Stanley Cortez . Thrilling and frightening musical score by the classic Miklos Rozsa . The motion picture was professionally directed by Fritz Lang . Lang directed masterfully all kind of genres as Noir cinema as ¨Big heat , Scarlet Street and Beyond a reasonable doubt¨ , Epic as ¨Nibelungs¨, suspense as ¨Secret beyond the door, Clash by night¨ , Western as ¨Rancho Notorious and Return of Frank James ¨ and of course Adventure as ¨Moonfleet¨ .

I enjoyed it much more the second time around. At first it was far too unbelievable. It hardly made any sense then and I never felt I cared what happened. I bought the video because of Joan Bennett and Fritz Lang making another film noir. Now when i saw it, I loved it and just sat back enjoyed all the hokus-pokus fluff that is delivered quite seriously. It´s supposed to be like "Rebecca" and that´s why I didn´t like it the first time. Too many plot holes! There´s even an exotic ms. Danvers type around with a veil...Too much!

Why would Joan marry and stay with someone so utterly stiff and charmless as Michael Redgrave?? The male lead should have been given to someone more mysterious and attractive. They were hoping for a new Laurence Olivier...

Joan is a treat as always. I love how she comes across as a spoiled debutante who can hardly care to utter her lines with any conviction. She´s a good actress -just a bit too laid back at times. I love her, she is so stunningly beautiful and cool in her Hollywood wardrobes.

I love the whole atmosphere of the movie. It´s slow at first and then from the honeymoon in Mexico and forward so mysterious! I love her bedroom with the tapestry! The thing with the room-collecting was quite farfetched but fun. Who would REALLY aquire complete scenes of murders at home???? I´m going to see it again soon and learn some lines. They don´t make them like they used to!