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Intriguing, but ultimately preposterous noir melodrama with a hysterical performance from Claudette Colbert. It's understandable that Colbert is upset. Her wedding to Robert Ryan is interrupted by a man saying she is already married. Several people back him up and it's pretty convincing. Ryan's having his doubts, and Colbert is doubting her own sanity. A murder takes place and it leads to a trial staged in two of the silliest courtroom scenes ever. The first half of the film is pretty good, thanks to the intrigue, but it can't sustain credibility. No spoilers on the outcome. Roy Webb is credited with an overwrought score, using a piano theme by Robert Schumann that we hear in variations -- the same tune that obsesses Joan Crawford throughout POSESSED (1947). There's some interest in the cast though: Paul Kelly, Paul Picerni, an uncredited Jose Ferrer (no relation to director Mel), Philip Ober and his then-wife Vivian Vance who is quite good in one of her few, but this time memorable, film parts before she became the immortal "Ethel Mertz".

Claudette Colbert is a wealthy woman driven to near insanity in "The Secret Fury," also starring Robert Ryan and Jane Cowl. On her wedding day, a man appears who claims that an heiress, Ellen (Colbert), is already married. An investigation ensues, and the evidence is against her. When her "husband" is murdered in her presence, she is put on trial.

This looked to me like a B movie, and it made for very compelling watching. My only quibble with it - and it's not a minor one - is that I was very disappointed with the ending. The motive for the crime seemed preposterous.

Robert Ryan plays Ellen's fiancé, and it's a different role for him. Here he's heroic and likable rather than villainous.

One of the most interesting things about the film is Vivian Vance in a small but showy role. She's excellent as a hotel maid who recognizes Ellen and verifies that she was indeed married before. It was a treat to see her do something besides Ethel Mertz.

Claudette Colbert is very good as the troubled woman. She's not a natural fit for the role, being more at home in comedy, but she makes it work. She's very believable as an older woman seeking happiness only to have it snatched from her at the last minute.

Mel Ferrer directed this very well, and I recommend it, though I wasn't crazy about the ending.

Is Ellen (Colbert) losing her mind—is she already married? The trouble is what she remembers happening is not what a bunch of other people remember. So what's going on.

About half way through, the movie turns from high-key lighting into noir. But then Ellen's fiancée is the great noir icon Robert Ryan. Except here, he's basically a good guy, although those inventive opening scenes where he can't get into his own wedding prove he's a quirky sort. Colbert gets to show her acting chops by running through about every emotion in the book. And I couldn't help thinking of the previous year's The Snake Pit (1948) as I watched her breakdown.

It's a tense, riveting mystery as we try figuring out what's going on. Ellen seems so convincing, but then so does the damning evidence against her. The screenplay effectively draws the noose ever tighter around Ellen's sanity up till the end. Then the script nosedives with some ridiculous motivation that's just too implausible to fly (without giving it away). Too bad, since the movie could have excelled without this unfortunate lapse.

There's one scene that intrigued me. Hoping to unravel the mystery, Ellen and David enter what looks like a spacious, well-lit livingroom. There, what only can be described as a cutting-edge jazz ensemble is laying out the cool sounds of the time. Draped languorously across a couch is an equally cool-looking blonde. It's a highly suggestive scene, and clearly an effort at creating exotic atmosphere. But, the banal setting and the high-key lighting drain the needed visual impact. It's almost like someone (director Ferrer, the producers?) was afraid of too much "atmosphere", (contrast with the super-evocative jazz scene in the classic DOA {1950}). Thus, a potential highlight is allowed to pass by.

All in all, it's unfortunate that the fine acting, inventive touches, and genuine suspense are challenged by a key lapse in the plausibility of the screenplay. Otherwise it's an effective little thriller.

The Secret Fury, in many ways a run-of-the-mill romantic suspense drama (directed by Mel Ferrer) boasts top-notch principals in Colbert and Ryan; it stays puzzling if not quite gripping until towards the end, when implausibility conquers suspension of disbelief -- as so often it does in this genre. But for some viewers the film's highlight will be the portrayal of blowsy Leah by Vivian Vance -- the immortal Ethel Mertz on "I Love Lucy." Oddly, Vance had very few film roles; her true home was Broadway, where (among other gigs) she understudied for Ethel Merman. Here she contributes a winning turn as a chambermaid suborned to play a minor part in a nefarious scheme; watch her half-heartedly trying to wave away the smoke when she's puffing a furtive cigarette in the hotel's linen-storage room -- a transgression for which she ultimately pays the supreme penalty.

Ellen R. Ewing (Claudette Colbert) is overjoyed to be marrying David McLean (Robert Ryan). She's from a rich upper class family and he's a regular guy. As the ceremony begins, a stranger stands up and claims that Ellen is already married. The man runs away but the marriage certificate is uncovered. Ellen struggles to prove her innocence as she is confronted by evidences and witnesses which are driving her mad.

I really love the premise. It has Hitchcockian flavor. I do have a problem with Randall's murder. I would like for the thug to reveal how it was done. Also during that waterboarding scene, David should be threatening him with the gun. It doesn't look right if all he's doing is putting him under the faucet. It all gets resolved too quickly. The thug should be revealed to be final villain and more time can be given to David's investigation. I also have an issue with Noosnom. It's unlikely that she remembers it that way. The movie needs to use a window or mirror to do the reflecting while the boat is hidden in some way. These are minor flaws that need to be cleaned up.