Nel 1820, nel New England, Jenny Hager, donna attraente ma povera e manipolatrice, sposa il ricco Isaiah Poster, più vecchio di lei, seducendo anche suo figlio e il caposquadra della sua com... Leggi tuttoNel 1820, nel New England, Jenny Hager, donna attraente ma povera e manipolatrice, sposa il ricco Isaiah Poster, più vecchio di lei, seducendo anche suo figlio e il caposquadra della sua compagnia.Nel 1820, nel New England, Jenny Hager, donna attraente ma povera e manipolatrice, sposa il ricco Isaiah Poster, più vecchio di lei, seducendo anche suo figlio e il caposquadra della sua compagnia.
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- Sailor in Saloon
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Recensioni in evidenza
The movie's got the gloss and the casting of a top studio production, maybe TCF. But it's not. Instead, the film is an independent production with Lamarr as a co-producer. I mention this because the result looks tailor-made for a Lamarr career move; at the same time, she does manage to prove she's more than just Hollywood's perfect face. Here, her conniving little vixen (Jenny) transits a number of emotional stages and male victims in fairly convincing style. However, unless I missed something, Jenny's inner guile fails to show up in any of the many close-ups. As a result, Jenny's deceit remains mainly in the script—the one performance flaw.
The movie itself is an atmospheric potboiler, thanks to stylist Edgar Ulmer and art director Remisoff. The scenes may remain stage-bound, but the overall effect is compelling, a triumph of b&w expressiveness. Note too how the scenes get steadily darker as the film progresses and Jenny gets closer to the expected reckoning. Even when the screenplay meanders, which does slow things down, the visuals remain smoothly engaging. Then too, the logging camp setting should have been rethought. The sophisticated Sanders is simply not an outdoor type. Still, wonder of wonders, two of cinema's favorite cerebral baddies, Sanders and Brooke, get sympathetic roles, for a change. Actually, I expected Sanders to break into a cynical sneer at any moment, and maybe Brooke to revert to type with an icy glare. Anyway, it is an interesting cast, down to Hayward as the weakling Ephraim and little Jo Ann Marlowe as the meanest girl since Patty McCormack's Bad Seed (1956).
I don't know if the film resulted in the kind of career break Lamarr was likely looking for, but it remains an entertaining morality tale, despite a spotty script and stage-bound settings.
She is very convincing as the daughter of a drunk who wants to dominate men and the society that squashed her when she was a child. It seems to me that her father speaks with a Scottish burr and that she does very briefly. The story might better have been changed so that he was an immigrant whose accent would be more consistent with th4e luscious Ms. Lamarr's own.
Nevertheless, it is atmospheric and very troubling. She marries an older man and immediately starts out in pursuit of his son. She gets the son and throws him over (a bit improbably) for Gweorge Sanders, wearing mutton chop sideburns here.
It's not Ulmer'best -- that might be his "Hamlet"pdate "Strange Illusion." But it is very good and it is one of the best performances ever given by Ms. Lamarr.
If you can put aside the fact that the lead character has a Viennese accent and her father an Irish one when they are both lifelong natives of Bangor, Maine then there is much to enjoy. Hedy, stunningly beautiful as always, plays a deeply conflicted woman well and though the film veers wildly from morality tale to lurid melodrama it is certainly more fun than a lot of more highly thought of films.
Lo sapevi?
- QuizExecutive producer Hunt Stromberg declared his dissatisfaction with the original opening sequence of Edgar G. Ulmer's own daughter Arianne Ulmer who played the young Jenny - she was purportedly not nasty enough - and so he and Hedy Lamarr enlisted Douglas Sirk to re-shoot the scenes using Jo Ann Marlowe who had appeared in Sirk's own Uno scandalo a Parigi (1946) earlier that year, and who had also featured as Joan Crawford's daughter Kay in Michael Curtiz' Il romanzo di Mildred (1945).
- BlooperEphraim paints "Nöel" rather than the correct "Noël."
- Citazioni
Lena Tempest: Honey, listen, with your looks you don't have to worry. You can get the youngest and best-looking man on the pier.
Jenny Hager: I don't want the youngest. I want the richest.
- Versioni alternativeVenere peccatrice (1946). Restoration Produced by Jeff Joseph/SabuCat. Digital scan by Film & Video Transfer, Chatsworth, CA. Cineaste Restoration - Thad Komorowski.. Final Conforming & Cleanup by The Finishing Touch. The Strange Woman (Restored Version) copyright 2020 Jeff Joseph/SabuCat.
- ConnessioniFeatured in Edgar G. Ulmer: The Man Off-Screen (2004)
- Colonne sonoreWhat Can You Do with a Drunken Sailor?
Traditional
Early 19th Century sea chanty
[Heard in tavern]
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Dettagli
- Data di uscita
- Paese di origine
- Siti ufficiali
- Lingua
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- Flor de insidia
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
- Tempo di esecuzione
- 1h 40min(100 min)
- Colore
- Proporzioni
- 1.37 : 1