La maison sur la colline

Effective Gothic thriller. I especially like the set-up, where Vicki (Cortese) gains admittance to the US by impersonating a dead fellow prisoner in a WWII concentration camp . That way she not only has her own secrets, but is also no unblemished young thing, which is usually the case in these woman-in-danger films. Once in the US, however, she marries into great wealth—a dream come true—but in the process gets more than she bargained for.

A lot of the story depends on appropriate emoting. Fortunately, it's a powerhouse cast, but I especially like Fay Baker's icy nanny Margaret. She's quietly intimidating without overdoing it. Too bad she didn't get bigger roles in more movies. I can't help noting, however, that Cortese may be the only Hollywood leading lady without a perfect nose. It's a fine regal beak and I'm glad she hung on to it. I can also see why Basehart fell for her in real life.

The San Francisco locations make a good open air contrast to the dark mansion interiors that dominate the characters. I expect director Wise applied his noir skills from the great Val Lewton series of horror flicks. Also, the ending amounts to a delicious twist, both unpredictable and very well thought out. My one problem was figuring out who's related to whom since that's important to the plot. I don't know if that's the screenplay's fault or mine.

Anyway, it's an effective thriller with a fine cast and an imaginative ending, worth tuning in for.

Perhaps not a noir, strictly but a very effective b/w thriller with great use of San Francisco locations. Valentina Cortesa is excellent and very believable as the lady who makes her way from the concentration camps to the house on Telegraph Hill. Richard Basehart is also very good in a complex role as her husband. But mention must also be made of William Lundigan and the terrifying Fay Baker. Even the kid is acceptable! This is a most involving and atmospheric picture, perhaps with shades of 'Notorious'. Great dialogue helps keep one involved throughout and there are certain scenes, for instance, the orange juice sequence that are positively thrilling. Excellent.

Valentina Cortese and Richard Basehart star in "The House on Telegraph Hill," a 1951 film also starring William Lundigan.

It's probable that Cortese and Basehart met during the filming of this movie, since they were married in March of 1951.

Cortese plays a concentration camp survivor, Victoria Kowelska, who takes the identity of her dead friend and travels to San Francisco to claim the woman's son, who is living with an aunt, and also her inheritance. When she arrives, the aunt is deceased,and the boy is being cared for by a snippy nanny (Fay Baker).

Victoria and the estate's trustee (Basehart) fall in love, marry, and live in the aunt's mansion. It soon becomes apparent from a series of mishaps that someone is trying to do away with Victoria. She finally confides in the Army officer who processed her papers (Lundigan).

Robert Wise does a good job with this suspenser, which combines some diverse elements - hidden identity, romance, shady nanny and a murder plot - though the script isn't the best. It drags in spots.

Cortese is an effective actress while not being a conventional beauty; her star shone brighter in Italy, where she worked until 1993 and then retired.

"The House on Telegraph Hill" does hold the viewer throughout. It's enjoyable but nothing special.

A young woman who survives the concentration camp at Bergen Belsen (Valentina Cortese) assumes the identity of her friend, who died at the camp, and through the new identity inherits a mansion in San Francisco on Telegraph Hill. Thus the woman escapes the poverty of post World War II Europe but enters into a nasty and ongoing dangerous battle over control of wealth and property in San Francisco. The woman-in- distress story has Cortese marrying Richard Basehart, who manipulates everything as a means of climbing up the ladder of wealth and position which he feels he's entitled to and Cortese is potentially depriving him of. Her gradual awareness of Basehart's character are the primary focus of this movie. Also in the mix is the young son of her deceased friend and the friend's great aunt, who left the mansion to her. The photography by Lucien Ballard is terrific throughout, especially the close-ups of Basehart. The film features hilly San Francisco prominently in several location shots, but the best parts take place within the mansion and in its backyard and the dilapidated shed that's built over a cliff. Basehart, who had done an excellent turn as a ruthless techno-savvy killer in He Walked By Night (1948) carried that menace into this movie quite well.

This movie begins a little like William Irish's aka Cornell Woolrich's " I married a dead man " (the novel was released well before Leisen's movie ,in 1948),the concentration camps replacing the derailment:and then a poor girl becomes an impostor in a wealthy family;then after introducing a Rebeccaesque governess,the story takes a divergent turn ,recalling sometimes "gaslight" "suspicion" (the glass of orange juice replacing the glass of milk) and "sudden fear" which would be released the following year.

That said,the movie is good,suspenseful,sometimes excellent and shows how great Robert Wise is as a director when he creates a disturbing atmosphere in an old house;he would take his skill to its absolute perfection with "the haunting" (1963) IMHO the best movie ever made about a haunted house (the remake should be carefully avoided);his talent emerges here and there: the playhouse where a wall is missing,the branch behind the curtain,the shadow on Valentina Cortese's white dress in the garage and the picture of the late old lady who seems like a judge beyond the grave ;her expressive face seems to have changed in the last pictures .Best performance comes from Richard Baseheart who shines in his last minutes on screen and the rest of the cast rises to the occasion.