Le facteur sonne toujours deux fois

If you are a fan of Film Noir, this is a must see. Beginning to end the noir penchant for uneasiness is celebrated and, surprisingly, Hume Cronyn gives a stellar performance as an amoral lawyer.

Drifter Frank Chambers applies for a job at a road side café belonging to Nick Smith, only to fall under the spell of Nick's wife Cora. He falls into desire which leads to deceit and eventually murder. Too late he falls in love but by then things have gone too far. He tells his story to us with the hindsight of a condemned man.

A classic bit of noir light. Based on Cain's sexual novel this underplays the explicit references but turns the subtle stuff way up - the film opens with a `Man Wanted' sign, while Cora is so well played that there's no doubt what she's offering. Without the explicit sex of the remake this story is a lot freer to be interesting rather than explicit. The court case and the mistrust between the lovers is as good as the early desire giving rise to murder.

Lana Turner is excellent as the femme fatale, she is smouldering and very, very desirable. Garfield is also excellent as the man trapped in her web. The two are the very center of the film and are both superb. If the film has any weakness then it may be that modern audiences need more than very subtle stuff, but that's probably our problem rather than the film's.

Overall this is very enjoyable, it has a great sense of mood and builds well to the inevitable conclusion.

The good atmosphere and Lana Turner's memorable role make this a film-noir classic worth seeing. The story starts out to be relatively simple, allowing the cast and the atmosphere to carry it, and then heads through a series of twists and turns, picking up the pace as it goes along.

John Garfield and the supporting cast are solid, but it is Turner who really stands out and grabs the attention anytime she is on-screen. It's nothing against Garfield to say that in comparison he is almost just along for the ride, yet he does a creditable job and makes his character believable. The supporting cast helps out as well, with Cecil Kellaway on-target as Turner's oblivious husband, and Hume Cronyn likewise in good form as a conscience-free lawyer.

The story pulls you in slowly, and then has some good turns as it picks up steam towards the middle. There may be a couple of too-convenient plot developments, but otherwise it is well-written.

This classic version is quite a bit better than the early 1980s remake, which required little imagination to make or to watch. Turner's character and performance, in particular (aided by good camera work), demonstrate that the suggestive can be quite a bit more effective and memorable than the explicit.

"The Postman Always Rings Twice" has just about everything you could ask for in a film-noir. It's probably just a cut below the best of the genre, and still one of the movies that most fans of film-noir would not want to miss.

Lana Turner and John Garfield are great in this classic tale of deception and murder and its hard to imagine that another actress, save Barbara Stanwyck or Joan Crawford, could have played the role of the wayward wife as well as did Turner. Cecil Kellaway has a thankless role and it's hard to believe that he was as clueless as he was about the fires burning around him as Turner and Garfield carry on their affair. Kellaway seems more preoccupied with pinching pennies than noticing how his young, attractive wife is bursting with sexual energy. Turner is as beautiful as ever but she and Kellaway don't make a credible married couple. Hume Cronyn is good as the smug attorney but the courtroom drama is a bit of a letdown. Garfield brings a restless energy to his role and matches Turner's smoldering sexuality.

Those movie audiences who think that explicit sexual scenes shown in movies these days make a film sexy, should take a look at this 1946 steamy MGM picture. "The Postman Always Ring Twice" made an impact on the way movies looked at the time, when the censure of the Hays Code dominated what could be shown on the screen for general consumption.

James M. Cain's novel of the same title was adapted by Harry Ruskin and Niven Busch, two writers that clearly caught all the nuances of the book. Ty Garnett direction made this film a surprise and a star out of the gorgeous Lana Turner, who was at the height of her beauty when the movie was shot. The great camera work of Sidney Wagner made this movie a classic for its sensual look it focused on its female star.

Nick, the older owner of the roadside diner, has married Cora, a woman much too young for him. Cora, who clearly has found her meal ticket, is happy in the way her life has changed. When Frank Chambers arrive at the diner, Cora realizes the mistake she made in marrying Nick; Frank stands in sharp contrast with Nick. Cora's sexual needs awaken when Frank pays attention to her. As lovers, we realize they are doomed.

Because both Cora and Frank are amateurs, they botch the well laid plans they have for getting rid of Nick. Everything conspires against them because it's too clear what they have done. They will not be able to get away with the crime, or a life together because unknown to them everyone had seen through them from the beginning.

Lana Turner, whose whole wardrobe is white, made a great Cora. She is heartless, but she is all sexual whenever she is around Frank. This was perhaps was one of the best things Ms. Turner did in the movies. John Garfield, who is so sure of himself, at the start, loses all his will because Cora smolders him and he doesn't think rationally. Cecil Kellaway is good as the older Nick. Leon Ames, Hume Cronyn are seen in small roles.

"The Postman Always Ring Twice" is a classic of this genre thanks to Ty Garnett's direction and a brilliant appearance by an inspired Lana Turner.