Il était une fois

This is a shaded Crawford performance, showing her dramatic range better than most. As the conflicted Anna, she goes through a number of emotional changes in subtle fashion. Defaced by a facial scar, Anna strikes back at the world by heading up a blackmail ring. Then, by chance, she meets up with cosmetic surgeon Dr, Segert (Douglas), who restores her underlying beauty. Too bad he's married.

With the operation, Anna can now lead a normal life, except her cruel boyfriend Torsten (Veidt) has a hold on her, and dispatches Anna to kill his toddler nephew who stands to inherit the fortune Torsten would otherwise inherit. So what's she going to do now that she has a chance to lead a normal life. Will Torsten's hold cause a relapse into her former criminal life.

The sleigh chase and roaring cataract below may be the most exciting sequence in any of Joan's many dramatic films. It's certainly the high point here. Douglas and Veidt are excellent in their roles; however, Massen's over the top as Douglas's unfaithful wife. On the whole, the MGM production is excellent, especially the ballroom scenes. However, some of the outdoor process shots and miniatures are sometimes apparent. Director Cukor's a little out of his usual sophisticated element, but keeps things moving seamlessly.

Too bad the film has drifted around in the Crawford canon because it's one of Joan's best, both for her and for the audience.

Joan Crawford, in a rare case of very sly, very competent underplaying, is cast as a facially scarred woman who falls in league (and perhaps in lust) with a blackmailing schemer with murder on his mind. The blackmail part of the deal is foiled when accomplice Crawford is befriended by Melvyn Douglas, the victim's husband (and plastic surgeon!); after restoring her beauty, Douglas must then stop Joan from carrying out the murder plot, targeting a child no less! Remake of an early Ingrid Bergman movie (1938's "En Kvinnas ansikte"), which in turn was based upon a French play, the film is over-plotted and over-flowing with hectic minutiae and chatty supporting characters. Also complicating matters is a story-frame set in the Royal Swedish Court: seems Joan is indeed on trial for murder, but whom did she kill? Despite a slow beginning, this turns out to be a rather shrewdly devised, sharply written melodrama, with some delicious turns of the screw. Crawford and Douglas work smoothly together (they were reteamed for a comedy the following year, "They All Kissed the Bride"), and the cinematography and art direction are marvelous. George Cukor directed, without a sense of humor, and the script might've stood some paring down. Otherwise, shamefully entertaining. **1/2 from ****

An exciting cast, an excellent story, excellent acting. Joan Crawford is perfect as a malevolent blackmailer who has a change of heart after her facial disfigurement is repaired.

The story progresses in an interesting way, with the plot unfolding during a murder trial. Each witness builds the story line, and the script has many unexpected plot twists, making this film anything but predictable.

This film is a good example of how skillful film makers create special effects without high-tech gadgetry. It's wonderful that we have films like this to show us what real movie-making is like.

Joan Crawford has one of her more complex roles and plays it brilliantly in 'A Woman's Face'. It ranks with her work in 'Mildred Pierce' and 'Possessed'. Matching her is Conrad Veidt, always the suave villain (who also specialized in playing Nazi types). Crawford excels as a scarred woman who undergoes plastic surgery to change her life. The situations become more melodramatic as the plot gets thicker and there are a few too many flashbacks--but overall, the effect is a stunning film that makes you think about how one's appearance shapes one's life--for better or worse.

Certain sequences have a stark, no holds barred manner of storytelling, grim and suspenseful--as when Anna Holm considers pushing a child to his death from a cable car. The wintry landscapes and glittering interiors are all handsomely photographed. Melvyn Douglas doesn't register too strongly at all. It's strictly Crawford's picture with some superb help from Conrad Veidt.

The pace is rather leisurely under George Cukor's direction but quickens midway to a smashing climax. By all means, see it. A strong melodrama with some unexpected twists.

Joan Crawford has one of her first great roles in this 1941 remake of a Swedish film that starred Ingrid Bergman. And she is superb. She plays a complex woman scarred in a fire caused by her drunken father. She has grown up as an outcast of society and turns to blackmailing as a way to make a living. Through a series of events she meets a plastic surgeon (Melvyn Douglas) who operates and transforms her life. But she is ensnared with villainous Conrad Veidt who wants to kill his nephew so he can inherit the family fortune.

Part thriller part courtroom drama, A Woman's Face gives Crawford the kind of role that showed off all her talents as an actress. This film, along with Mildred Pierce, Possessed, and Humoresque, ranks as one of her best. The entire cast is top notch.

Douglas is fine as the compassionate surgeon and Veidt is terrific as the murderous uncle. Marjorie Main has one of her best roles as the jealous housekeeper. Reginald Owen, Connie Gilchrist, and Donald Meek are Crawford's band of thieves. Albert Basserman is the old counsel. Richard Nichols is the cute kid. Osa Massen is Douglas' pig of a wife. Henry Kolker is the judge and Henry Daniell a lawyer.

Great direction (George Cukor) and cinematography. Exciting sleigh race at the finale. But first and foremost this is a Joan Crawford picture. Why didn't she get Oscar nominated for this gem?