Madame X

The old chestnut "Madame X" has had something like 9 screen versions, not to mention a play and the book. There's an occasional change here and there but the plot remains basically the same: A young woman is thrown out of her home and separated from her child. She hits the skids, and 20 years later, the child defends her on a murder charge.

So goes this version of "Madame X" as well, with a nice roster of stars: Lana Turner, Keir Dullea, John Forsythe, Ricardo Montalban, Constance Bennett, and Burgess Meredith. Turner is the unfortunate woman, happily married to Clayton Anderson (John Forsythe) a man with a good political future, and she's the mother of a young son. But the marriage becomes strained when Clayton is away too much, and Holly starts fooling around. When her husband comes home and she realizes how much she loves him, she tries to break it off with a roué (Ricardo Montalban). During an argument, he falls down the stairs to his death. Holly's mother-in-law, played by Constance Bennett, arranges for her to disappear with a new identity. In Europe, Holly meets a wealthy musician who falls in love with her, but she runs out on him - a big mistake - and ends up turning to alcohol and easy sex. When she murders a blackmailer (Meredith) who is going to tell her son who she is, she ends up on trial - defended by her son.

Well, the pot doesn't boil any better than this, and Hunter gives it a big, expensive production and sets Lana Turner loose in what is probably her best performance. Although the age/dissipation makeup is a little over the top, Turner gives the degenerate Holly a great, hard edge and a lot of frailty. It's a nice juxtaposition to the earlier sweetness and buoyancy of her character. Turner was one of those movie stars whose beauty, glamor, and private life often had critics not paying much attention to her performances, but she gave some good ones nonetheless. The other standout in the cast is Bennett, who's as slender as she was in the '30s and a lot tougher. Her voice has dropped a couple of octaves and her hair is a strange brown (this was perhaps in deference to the blond Lana). Toward the end of the film, she gets white hair softly styled and looks beautiful - even with the age makeup that needed to be added to the 60-year-old. The role of Forsythe's manipulative, protective mother is perfect for her -- a fitting last film for one of the great and prolific stars of the 1930s. She died before the film was released. Keir Dullea is appealing as the son, and Forsythe is pleasant though he doesn't have a huge role.

Try as they might, Madame X is from another time and by 1966 just wasn't great movie material. It is however, entertaining and engrossing. The most jaded person can't help but to be moved by the ending, though you may hate yourself for it.

I couldn't agree more ! I have always thought this was Lana supreme --- even better than "Peyton Place." Hollywood OWED it to Lana to nominate her greatest performance --- a terrible oversight. It's like nominating Doris for "Pillow Talk" INSTEAD of "Love Me or Leave Me." I will never forget seeing this movie at Fort Hood, Texas when I was in basic training in 1966. I bought the soundtrack LP immediately, and played it to death. It has never come out on CD. HELLO, Universal Music ??? Nice to see her fans supporting her, though ! And the movie is a luscious "guilty pleasure." It looks like the cast enjoyed making this film. I know Constance Bennett must have loved to have one more juicy role ! If you like the splashy, technicolor "wimmen's pitchas", as my sister would say, don't miss this !

"Madame X" is one of the best movies I have ever seen. I would recommend it to every movie goer, not just Lana's fans. She manages to portray to perfection a very, very complex character, and she certainly deserved an Oscar. I liked in particular her scenes with another fine actor, John Van Dreelen, who shared with Lana some very nice, romantic moments. The actor actually said in an interview that his chemistry with Lana was as good on-screen as it was off-screen, and this does a lot of good to the film. I also bought the magnificent book "Madame X", by Michael Avallone, which was published in 1966. I recommend it to everyone, because it was adapted after the original screenplay of Jean Holloway. Thanks to the book, I managed to discover the scenes that were cut from the film, such as the scene where Holly is trying to get a job at an expensive French shop, and also a scene where Christian, the pianist (Van Dreelen), is giving her a hint that they should marry, because the whole press was discussing about them during his concert tour. So, in order to avoid gossip and scandal, he thought they ought to marry. This was his first proposal to her, while they were driving an automobile - and that is why in one of the sequences with them in the car, Lana's character seems preoccupied about something. The novel reveals that she was very much in love with this artist, who became her God or guardian angel, but whom she had to leave, so that neither he, nor her first husband (played by John Forsythe) would find out who and where she really is. A great book and a great film! I bought the original DVD from France and it was an excellent purchase. The music is also superb, and the soundtrack was released separately in 1967. I only wish there were kept more scenes from "Madame X", because the film is much too short to understand the complexity of the plot. Still, I highly recommend it, even if it is a very sad film, a real tear-jerker.

This glossy remake of an attorney (Keir Dullea) defending a woman accused of murder, not knowing it's his mother is a grand soaper. Lana Turner gives a bravura performance going from ravishing beauty to a haggered drunken sot all in the name of mother love. Veteran actress Constance Bennett is equally good as her conniving mother-in-law. Also in the cast are John Forsythe, Ricardo Montalban and Burgess Meredith as two unsavory characters. Lovely Virginia Grey is also present. Of course no Ross Hunter film would be complete without sumptuous production values, lavish wardrobe and lush surroundings.

LANA TURNER knew a good part when she saw it. And there was even a courtroom scene that she could savor while she recalled her own real- life courtroom drama a decade earlier. She digs into the script with all of her being and gives one of the strongest performances of her career. Unfortunately, her co-star, John Forsythe, is all but invisible in a thankless role. But because the story was an old chestnut that had been done many times before, Hollywood seemed to turn its back on her work and she received not even a nomination for this, one of her best roles.

At 45, she was really too old for the early scenes depicting her as the young bride of a wealthy political candidate, but her make-up is expert and she looks radiant. She is soon to be undone by her mean mother-in-law, a youthful looking Constance Bennett (who, incidentally, just had a face lift before starting the film, much to Turner's distress). The plot has Turner getting involved with a playboy (Ricardo Montalban) who gets too serious before she decides to ditch him. She rejects him and an accidental fall down a steep stairway ends in his death and leads to the mother-in-law's scheme to get rid of the unwanted Turner by sending her into exile and making her give up custody of her young son.

The suds get thicker as Turner turns into a lonely woman who can never forget her past and the son she left behind. After an irrelevant episode with a concert pianist who wants to marry her (Curt Jurgens), she hits the skids and ends up boozing it up in Mexico with an unscrupulous Burgess Meredith. At this point in the film, Turner really does the kind of emoting that should have guaranteed at least an Oscar nomination. She pulls no punches in revealing with gut wrenching honesty what she has become under the influence of alcohol, bitter self-contempt and loneliness. It almost comes as a relief when she reaches for a gun and shoots Meredith when he plans to use her for his own ends.

Her acting is further strengthened by some courtroom scenes that show the ravages that her wasted life have done to her once lovely facade. And her expression in court, when she realizes that the young lawyer defending her is her own son, says more than a thousand words of script. There are moments throughout the film where she does some of her best acting since PEYTON PLACE.

She is wonderfully supported in the final scenes by some excellent work from Keir Dullea, who shows great sensitivity in his dealings with the woman he only knows as Madame X. His final line: "I loved her from the moment I first saw her" is guaranteed to make the eyes tear after Turner's emotional courtroom outburst. Constance Bennett is efficient and cold as her mother-in-law but John Forsythe has such an underwritten role as Turner's busy husband that his performance is as wooden as any he has ever given. Luckily for him, he found his niche on television.

By all means, if you're in the mood for a good tear-jerker and would like to see Lana at her best, this is one that you can't miss. The background score by Frank Skinner adds greatly to the story's effectiveness in wallowing in those soapy suds, reminding one of the days when Max Steiner would have been called upon to do exactly that for a Bette Davis film.