Sangue nel sogno

Strange Illusion is directed by Edgar G. Ulmer and written by Fritz Rotter and Adele Comandini. It stars Jimmy Lydon, Warren William, Sally Eilers, Regis Toomey, George Reed and Jayne Hazard. Music is by Leo Erdody and cinematography by Phillip Tannura.

Adolescent Paul Cartwright (Lydon) is startled by a dream he has about his father's death. In the dream he comes to believe the death was not an accident, but murder, and there seems to be a shadowy figure moving in on his mother and sister. When the mysterious Brett Curtis (William) arrives in his mother's life, Paul begins to suspect his dream may be coming true...

It's a tricky one to recommend, for it's one of Ulmer's most divisive noir movies amongst his fans. It's hard to argue with some of the complaints put forward because undoubtedly the acting is poor, the villains weak (and revealed way too early), the score obtrusive and it's a good 15 minutes too long. Yet Ulmer could quite often make a silk purse out of a sow's ear, and here he manages to rise above the flaws to craft a most intriguing picture. A film in fact of many psychological pangs.

The framing device for the story is essentially that of a evil step- father, and since we know early on that Brett Curtis is indeed evil, it becomes a simple case of if young Paul can find the proof before harm comes to his mother and sister. He willingly checks into a mental health sanatorium as part of his investigation, while the clock ticks down elsewhere as the sinister Curtis homes in on his prey. There's a dastardly accomplice with Curtis and a good old family doctor aiding Paul from the sidelines. That's pretty much it for plotting.

However, analysis shows plenty to keep the film from sinking without trace. There's obviously the Freudian factor concerning dreams, the interpretation of such, but there's also oedipal overtones pulsing throughout. The relationship between Paul and his mother never feels natural, evident in the way he holds her or talks to her. Ulmer cannily keeps it bubbling under the surface, but it is there. Then there is Brett Curtis, a monstrous creation, a serial killer and sexual predator of young ladies, the latter of which is deftly handled by Ulmer as we pick up on his sordid ways only via aftermath clues and conversations.

It's also a moody picture visually, as you would expect from Ulmer. The budget of course is small, thus the production design is accordingly tight, but the director gets much atmosphere from such sparsity. It's filmed in shadowy black and white and this perfectly marries up with the psychological discord of Paul Cartwright, while dastardly conversations unfold in darkened rooms. One particular shot of Paul in the sanatorium standing in front of a huge barred window, the shadows stretched around him, is very striking and it makes you wish there was more shots like that, but Ulmer doesn't short change us for moody atmospherics.

From the hazy dream beginning to the denouement that plays out in a rickety old cabin, there is much to enjoy and pay attention to. Oh it's a mixed bag for sure, but the good far outweighs the bad in my humble opinion. 7/10

Much has been made of Mr. Ulmer's talent, and here, he makes good use of it. While someone on the order of a brooding Farley Granger, for example, would have been preferable as the lead, James Lydon, nonetheless, turns in a commendable job as Paul Cartwright, a college student haunted by prophetic dreams. It's genuinely refreshing for a change, to look back upon a time, when teen-agers were still presented in a wholesome and appealing light. And, Mr. Lydon, movieland's "Henry Aldrich" certainly had the credentials for those traits. But, here, Lydon is caught in a story of deathly threats, with implications far more threatening, than the "Golly--Gee!" consequences of smashing his date's corsage for the Senior Prom.

As for the plot, Paul, manages to prevent his wealthy widowed mother from marrying a male gold-digger, with a string of unsolved murders in his past. Naturally, Paul has to undergo any number of travails before the violent denouement, including amateur "detective" work that triggers both a feigned and a near real nervous collapse. He is even "voluntarily" committed to an asylum where further sinister developments befall him. The ending, cleverly finds him lost in an unconscious dream state again, but now enjoying a vision of a liberated and happy future.

Mr. Lydon was "slumming" at PRC, on loan from Paramount, and preparatory to his turns with glamorous Elizabeth Taylor in "Life With Father" and "Cynthia" both glossy, expensive, mainline productions.

Nonetheless, this PRC production possesses relatively handsome art direction and production values, given that, based on production files with the American Film Institute, it was actually shot in just 15 days, (as opposed to the erroneous oft-cited 6 day schedule.) By the way, take a good, hard, look at the exteriors of the Lydon family chateau in this. Look familiar? Yes, it's the same house used as Robert Walker's home in "Strangers on a Train" and June Lockhart's in "Bury Me Dead."

All told, if you enjoy crime stories focused on young people trapped in traumatic circumstances, it's definately worth a look.

Although I would hesitate to call it "film noir," Strange Illusion is a tightly woven, intriguing mystery. For a Poverty Row production, the writers and Ulmer paced the film well and kept it interesting. The acting, although amateurish at times, doesn't distract from a believable story. My only real complaint about the film is the music-- too much and too loud.

Brett's penchant for teenage girls is a refreshingly realistic perversion for a film of the '40s. It also stands in stark contrast to the "gee whiz" scenes which seem lifted straight out of "Leave It to Beaver."

I rate it 7/10.

The movie just goes to show cheap doesn't necessarily mean bad. It's a poverty row PRC production. But the movie also has a fine cast, distinguished direction, and expert craftsmanship. On the other hand, the story tends to convolute, and we never do find out the exact nature of the "strange illusion" that anticipates real events. But then an occult touch lends the movie a mysterious nature beyond the who killed young Paul's (Lydon} father. And that opening sequence, apparently filmed through a gauzy filter, remains a real grabber.

Lydon's simply excellent in the pivotal role. Hard to believe he was only twenty at the time since he's so well poised. His teen friends are a lively bunch, showing what teen behavior and slang was like even in those war years. (See if you agree: Jayne Hazard (sister, Dorothy) looks like a fresh-faced young Marilyn Monroe.) But the real grabber is Warren William. What a creepy character his Curtis is, seeing his face light up whenever he spies a nubile young thing like Lydia (McLeod). Actually, having a near-pedophile as a character is a pretty daring move for the time. And William transitions so smoothly from the masterful to the lustful that he steals the film from heavy competition. Too bad this distinctive performer is largely forgotten. He's definitely among the rewards of watching old movies.

Anyhow, cult director Ulmer again shows how to shape difficult material into an intriguing final product, despite budgetary drawbacks.

"Strange Illusion," reminiscent of Shakespeare's "Hamlet" and also director Edgar G. Ulmer's own stylish 1934 effort, "The Black Cat," is so full of holes and contrivances one can hardly take it seriously. It's worth a look, however, for a quartet of captivating performances: a slick and scheming Warren William, past his prime but as solid a screen presence as he was in the early 30s; Jimmy Lydon, the epitome of wholesome, fresh-faced adolescent idealistic innocence as a young man suffering disturbing dreams about the recent suspicious death of his highly-placed politician father; Sally Eilers, also past her prime but ever so competent and fetching as Lydon's widowed mother and Charles Arnt as a weasely psychiatrist in cahoots with William. Besides this quartet, we have the wooden Regis Toomey, a sort of run-of-the-mill "B"-actor during the studio era who ended up playing supporting roles in 1960s TV shows, as a family friend who is gradually convinced by Lydon that William is, to say the least, not to be trusted. The low budget is evident throughout but it doesn't prevent the viewer from rooting for Lydon.