Daisy Kenyon

In the early scenes, Crawford has a dog that looks like a border collie. His name is Tubby and she appears to dote on him. Suddenly, he disappears.

That said, this is one of Crawford's very best movie's. Twentieth Century Fox, and Otto Preminger, did beautifully by her.

So many things to say ...! It takes place in the neighborhood where I was born and still live. The Greenwich Theater, where Joan attends a movie, was a staple of Greenwich Village. When it was twinned it started showing less interesting things but it was still a landmark. Then it was torn down and in its place stands a health club.

The diner where Henry Fonda waits for Crawford while she's at the movie is still there. The curtain in its window looks the same -- almost 60 years later.

Crawford and Dana Andrews make a somewhat unlikely torrid romantic duo. But they work well together. The same can be said for Crawford and Fonda. Their romance is a bit more implausible but, again, they are directed beautifully and advance the plot admirably.

In a sense, this is Fonda's closest brush with film noir. He is a vet who has also lost his wife. The scene in which he thrashes around a nightmare is brilliantly staged. The background music there, as elsewhere, is excellent.

Most of the characters speak in a sort of Henry Higgins manner. "Hurricane" is pronounced just as Eliza Doolittle was taught to say it: "hurricen." Crawford always had that quality -- "syew" for "sue," "cahn't" for "can't." But the movie withstands these petty issues. It's exciting and it is beautifully cast. Ruth Warrick is superb in the small role of Andrews's wife. Peggy Ann Garner is too, as one of his daughters. So is the girl playing his other daughter. And Crawford's roommate, whose name I don't recognize, is convincing as well.

This is one of the lesser known vehicles of all three of its stars and not one of Preminger's better known, either. But it's fascinating and deserves kudos for all concerned.

Though the second half descends into more suds than the first, the movie is more uncompromising than I expected. Daisy (Crawford) gets caught up in a triangle between married man O'Mara (Andrews) and returning soldier Lapham (Fonda). The latter is a sweet guy who more importantly wants to marry her, while the high-powered attorney O'Mara seems more interested in himself. The trouble is Daisy can't seem to resist the self-centered attorney. Worse, he's got two loving little girls at home and a wife who would respond if he just treated her right. So, Daisy's head is pulled in one direction, while her heart is yanked in the other.

Surprisingly, it's really Andrews's movie as he plays the cad to forceful perfection. At the same time, dear Joan's more restrained than expected as she anguishes over the next tug on her heart strings. Fonda slyly low-keys it until the end when we finally get some insight into the ex-soldier's taciturn style. Together, the three play off one another effectively, and they better since their interactions comprise the movie.

The first half sets up the predicament pretty compellingly as we get to know the three main characters. It's hard to like O'Mara and his abrupt manner until we see him soften with his enchanting daughters (Garner & Marshall). Then too, the problems with his wife appear more his doing than hers. But is divorce the answer and does Daisy really want something more permanent with a guy who would leave such a promising family, especially with a nice guy like Lapham waiting in the wings.

No need to give away the ending, except I think it's more unsparing than I expected, particularly for the two little girls. All in all, it's Joan hitting the right emotional keys, even if Andrews steals the film.

I've seen about a dozen Preminger films and this is my favorite. I wasn't expecting too much once the movie began because it seemed I had seen this all done before but Preminger's characters (as is usually the case) are much more realistic than typical Hollywood movies of this era. The characterization actually compares favorably to foreign films of the time, like for example Quai des Orfèvres from the same year; this movie could easily have been a French production. I'm not much a fan of Crawford or Fonda but this is probably the best I've seen Fonda; and Crawford was just fine. Dana Andrews is superb - probably his best movie! What made this movie for me was that I could relate to all three main characters - in many ways they are more ideas (or philosophies) than actual people but the odd thing is that the line was so blurred that even though I knew this was the case I still enjoyed them as people. What puts this above the other Premingers I've seen is the very tight script, the fast pacing, and three fully realized characters that came across not only as real but as themes in themselves. Add in a memorable supporting cast and everything just blends together to make a perfect concoction.

Joan Crawford is "Daisy Kenyon" in this 1947 film about a woman torn between two men - one, a married, successful man (Dana Andrews), and the other, a returning soldier and widower (Henry Fonda). Directed by Otto Preminger, it's a good noir, better than "Dark Angel" but nowhere near "Laura."

Andrews is married to Ruth Warrick and has two daughters who need him, as their mother, when unhappy, tends to be abusive. He has a long-time relationship with Daisy, who is a successful commercial artist.

The situation isn't ideal for her, but she's in love. One night she meets a soldier who wants to build a life with her. Can she break from Andrews - and will he let her?

There are several striking things about this film. One is the casting. In order to play the lead in "Grapes of Wrath" in 1940, Darryl Zanuck forced Henry Fonda to sign a 7-year-contract, for which Fonda never forgave him.

One can see an example of why here. In this film, he has to share leading man duties with Dana Andrews in what is, in fact, a Joan Crawford movie. To me, Fonda's role in this seems very inauspicious and one where a lesser star could have been cast. Just an opinion. He's excellent as a lonely, unhappy man who falls for Daisy - Fonda at this point still had some traces of boyishness.

The second striking thing for me was the subtlety of the acting. There is a scene in which Dana Andrews, returning from an 18-day-trip, can't get the usually reliable Daisy on the phone, so he goes to see her.

It's a scene that should be shown in acting schools - full of atmosphere and subtext, so little is said in dialogue; so much is what lies beneath the surface. Both Crawford and Andrews give wonderful performances.

The third striking thing is the Greenwich Theater, which I had no idea was torn down until now. There was indeed a restaurant across from it, too. That's also my old neighborhood, and it was a delight to see. I believe I went to the opening day of "Fargo" there.

Throughout the film, the symbolism of a New York cab is used: if you were staying where you were, you let the cab go; if not, you asked it to wait. The theme reinforces the ending of "Daisy Kenyon" very well. A good movie.

This one may seem quite turgid to a modern audience's sensibilities but, for its time, it was fairly strong stuff, with solid performances by its three leads, Crawford, Fonda and Andrews, under Otto Preminger's brisk direction. Dana, who never really achieved the recognition he deserved for the subtlety of his work, in an extremely difficult role, gives it all the shadings one could wish for. Nice production values and one of the talented David Raksin's best scores enhance a very watchable story with an outcome that isn't as predictable as it seems, come the final clinch.