NOTE IMDb
7,3/10
3,1 k
MA NOTE
Ajouter une intrigue dans votre langueA pregnant woman adopts the identity of a railroad-crash victim and starts a new life with the woman's wealthy in-laws, but is soon blackmailed by her devious ex.A pregnant woman adopts the identity of a railroad-crash victim and starts a new life with the woman's wealthy in-laws, but is soon blackmailed by her devious ex.A pregnant woman adopts the identity of a railroad-crash victim and starts a new life with the woman's wealthy in-laws, but is soon blackmailed by her devious ex.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 1 victoire au total
Jean Andren
- Louise Russell
- (non crédité)
Georgia Backus
- Nurse
- (non crédité)
Virginia Brissac
- Justice of the Peace's Wife
- (non crédité)
Ivan Browning
- Porter
- (non crédité)
Ashley Cowan
- Justice of the Peace's Son
- (non crédité)
Avis à la une
I love this film. I first saw it when I was 10 and always remembered the story and feel of it. This is wonderful noir, with the kind of plot that keeps one enthralled until the final frame.
All the performers deliver: Stanwyck moves from a tragic character with little hope, through loss, the turmoil of deceit to happiness. This was a strong performance for her; John Lund perfectly portrays a man in conflict. Jane Cowl and Catherine Craig are almost a perfect sparing pair as the mother and the maid, their sarcasm to each other provides the humour scattered through the film.
The atmosphere and mood of the latter part of this film is perfectly captured in black and white. It makes you realize the role shooting a film in black and white played in this genre.
If you have not seen this film, do yourself a favour AND SEE IT.
All the performers deliver: Stanwyck moves from a tragic character with little hope, through loss, the turmoil of deceit to happiness. This was a strong performance for her; John Lund perfectly portrays a man in conflict. Jane Cowl and Catherine Craig are almost a perfect sparing pair as the mother and the maid, their sarcasm to each other provides the humour scattered through the film.
The atmosphere and mood of the latter part of this film is perfectly captured in black and white. It makes you realize the role shooting a film in black and white played in this genre.
If you have not seen this film, do yourself a favour AND SEE IT.
Leave it to Barbara Stanwyck and John Lund to make this film noir soap opera work on every level. Stanwyck, pregnant and unwed, meets another woman and her husband on a train, a wealthy woman going home to see her family. When the train is wrecked and the woman and husband killed, Stanwyck assumes her identity since the man's parents have never met her nor even seen a photograph of her. The plot gets thicker once Stanwyck assumes the dead woman's identity.
The picture combines the suspense of a film noir with some soap opera touches but Barbara's strong performance makes it all work. John Lund, Jane Cowl, Phyllis Thaxter, Richard Denning and Lyle Bettger are all fine in support. It's all based on a Cornell Woolrich novel called "I Married A Dead Man" with the usual touches of irony found in his work.
It's one of director Mitchell Leisen's better films (he did "To Each His Own", "Hold Back the Dawn", and many other interesting films.) Absorbing and well worth watching. Not a well-known film but it's one of Stanwyck's best.
The picture combines the suspense of a film noir with some soap opera touches but Barbara's strong performance makes it all work. John Lund, Jane Cowl, Phyllis Thaxter, Richard Denning and Lyle Bettger are all fine in support. It's all based on a Cornell Woolrich novel called "I Married A Dead Man" with the usual touches of irony found in his work.
It's one of director Mitchell Leisen's better films (he did "To Each His Own", "Hold Back the Dawn", and many other interesting films.) Absorbing and well worth watching. Not a well-known film but it's one of Stanwyck's best.
Barbara shines as the deceiving wife and does so much with her eyes. Jane and John are also very good. Strong script and not too overly sentimentalized for its era. A very enjoyable soaper with a great supporting cast. Gee, I miss all those great bit players of the thirties and forties. They added so much sparkle and credibility and a type of reassurance not seen in today's movies. Bravo to the entire cast in this little gem.
I really like this movie. OK, so the plot is unbelievable. When you've got good acting and excellent directing you can overlook it all. I especially like Lyle Bettger's portrayal of the heel boyfriend and blackmailer and Jane Cowl as the kindly mother in law. And what can you say about Barbara Stanwyck that hasn't been said - steady, compelling, convincing. She's the best.
There's one line in the movie that always makes me laugh. After Barbara has her baby, the doctor and nurse are talking about her progress and agree "if she continues to do well, she can see the baby in a couple of weeks". In our 21st century experience of instant parent/baby bonding, this seems so bizarre!
There's one line in the movie that always makes me laugh. After Barbara has her baby, the doctor and nurse are talking about her progress and agree "if she continues to do well, she can see the baby in a couple of weeks". In our 21st century experience of instant parent/baby bonding, this seems so bizarre!
...and I say that with the highest form of flattery. This nail-biter is tightly directed, moves along at a nice swift pace and never drags for even a moment. Barbara Stanwyck gives one of the finest performances I have seen by her and the rest of the cast is all around excellent as well. After Helen Ferguson is left pregnant and penniless by her jerkoff of a boyfriend (the dreamy and steamy Lyle Bettger), a series of events leaves her mistaken for the widow of a rich man. The family takes her in and the brother of her alleged widow (played by handsome John Lund) falls in love with her and everything is hunky-dory - that is, until the jerkoff ex-boyfriend comes back and starts all kinds of trouble. The cherry on top of the whipped cream here is a lovely and sympathetic performance by Jane Cowl as the mother-in-law. A classic soapy film noir!
Le saviez-vous
- AnecdotesIn-joke: The character played by Barbara Stanwyck is named Helen Ferguson; this is the real name of one of best-known Hollywood publicists of the era, who also represented Stanwyck.
- GaffesPatrice decides to go to the Country Club dance with Bill at short notice. Such an event would be limited to members and invited guests. Yet Steven Morley, who does not move in that social circle, is in attendance and makes contact with Patrice.
- Citations
Bill Harkness: [returns to car after dumping a dead body onto a moving train] He stayed on, caught on the catwalk or whatever it is, but his hat came off.
Helen Ferguson: Don't.
- Versions alternativesThis film was published in Italy in an DVD anthology entitled "L'uomo con il mantello", distributed by DNA Srl. The film has been re-edited with the contribution of the film history scholar Riccardo Cusin. This version is also available in streaming on some platforms.
- ConnexionsFeatured in Film Review: Changing Faces (1968)
- Bandes originalesMolly Malone
(uncredited)
[Performed by Bill on the piano]
Meilleurs choix
Connectez-vous pour évaluer et suivre la liste de favoris afin de recevoir des recommandations personnalisées
- How long is No Man of Her Own?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- La mentira candente
- Lieux de tournage
- Société de production
- Voir plus de crédits d'entreprise sur IMDbPro
- Durée1 heure 38 minutes
- Couleur
- Rapport de forme
- 1.37 : 1
Contribuer à cette page
Suggérer une modification ou ajouter du contenu manquant
Lacune principale
By what name was Chaînes du destin (1950) officially released in India in English?
Répondre