L'amante immortale

Commerical artist Daisy Kenyon (Joan Crawford) is in love with married Dan O'Mara (Dana Andrews). She wants him but realizes he'll never divorce his wife (Ruth Warrick). She instead marries a man she doesn't love (Henry Fonda) to break it off with Dan completely. But things don't turn out all that well...

This starts off as a very interesting Crawford movie. It's beautifully shot in a film noir style which gives an appropriate tone to the film. She plays a woman who wants to move ahead but can't because of her love for the wrong man. The direction is good, the dialogue sharp and the acting is great by Andrews (never more romantic) and Crawford (never stronger). But it falls apart completely at the halfway mark and turns into a dreary romantic triangle. The ending especially was SO predictable it had me rolling my eyes. Still this is worth seeing for the direction and acting alone. Also there's a strong subplot dealing with child abuse! So this is worth seeing. I give it a 7.

This film is the latest release in the Fox Film Noir DVD series. Although it is not a noir film at all, but is instead a potent emotional melodrama, this does not matter. We don't complain, do we, when splendid DVDs of classic films are released under any pretext from those perfectly preserved negatives sitting in California archives crying in unison: 'Release me! Release me!' Anything directed by Otto Preminger is welcome. He may have been a nightmare as a person, but his films were terrific. This film is beautifully directed, and the lighting by Ken Shamroy and the sets by art directors George David and Lyle Wheeler all combine to give tremendous atmosphere to a film which could so easily have had none. Shamroy's lighting is not only good because of the shadows, but the subtle ways he picks out the faces and the eyes. Those were the days! Who can do that so well now? The Hollywood stars then knew how to play to their lights in order to deify themselves to still higher celestial orders. In those days, facial surgery took place by lighting methods, and there was no need for the knife. I am far from being a Joan Crawford admirer, but although she was an even worse nightmare than Preminger as a person, she can act with fantastic, mesmeric power when she wants to. And she does so here. The story is about a confused 'independent woman' of the immediate postwar era who is a mistress of a self-absorbed cad and the wife of a perversely self-denying idealist. Which shall she choose? She dithers with all the uncertainty of a woman in love who is not sure with whom. Does she go for the strong and cruel one, or the weak and adoring one? (Animal instinct always urges the former, on the premise that it is a better breeding prospect for the species that the strong, however cruel, should procreate.) Dana Andrews, usually a nice guy in films, here does a very good job of being a real jerk. Henry Fonda always found it easy, with his relaxed, gangly walk of a hillbilly, to be Mr. Nice Guy, since after all, only nice guys walk like that. He doesn't have a lot of acting to do, but what is needed is there. (No need to chew gum or 'baccy' this time.) This love triangle is greatly aided by a spectacular performance in a supporting role by Ruth Warrick as a harridan wife of Dana Andrews, although the fact that she is a child abuser who beats up her own little girl is severely down-played in the film. There are some wonderful small touches: a garrulous taxi driver reciting endless boring statistics about his trade, and a glassy-eyed couple who descend the stairs and do not say hello, the woman surprisingly being former silent film star Mae Marsh! Yes, it is a pity about the Greenwich Theatre being gone, not to mention Pennsylvania Station, of the interior of which we get a glimpse. This is a powerful soap opera story raised to a higher level by the talent involved.

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.

I wanted to respond to a few comments about this wonderful film (which was a strong and highly effective character study). Dana Andrews received billing over Henry Fonda because Andrews was at the peak of his career with A WALK IN THE SUN, LAURA, THE FALLEN ANGEL AND THE BEST FILM OF 1946, THE BEST YEARS OF OUR LIFE. He was a superstar at that time and held on to stardom until the early 1960s but in films of lesser quality as the years went by. He was an excellent and underrated actor.

Henry Fonda, whose first starring role was in 1935, was in the middle of his long career, not in the early stages as one writer said. Fonda, after serving 3 full years in WWII, had a difficult time maintaining his stardom, was never a strong box office star but was an outstanding actor. Fonda did not make any films after 1948 until MR. ROBERTS in 1955, his comeback. He constantly did fine and critically acclaimed stage work. Peter, his son, said he was gray-listed because of his liberal political views also. Fonda worked in major films with lead roles in films and on television until his death in 1982.

Fonda was under contract and was forced to perform in this film by his studio. Andrews liked working with Otto Preminger and did so 4 times. Andrews was easy to work with and the autocratic Preminger liked Andrews because of his professionalism, easy going personality and outstanding acting ability.

I was surprised that something more was not said or done about Dana Andrews' child torturing wife. Andrew shed a tear but did not report this beast to the authorities. (She yanked on her child's ear until the ear bled and the child had a significant ear ache.) That, even in the dark ages, should have been enough to have the child removed from her care, wouldn't it?

I liked this film a lot because it's a rare movie where Joan Crawford doesn't overshadow her male co-stars and here she is pitted up against two fine male actors who match her emotions and intelligence. Dana Andrews was never better stepping out from his usual good guy roles to play a heel with compassion. Mr Andrews acting is both subtle and emotinaly strong. Coming off his strong performance a year earlier in the Best Years of Our Lives he was clearly at his peak at this time. There is a lot going on in this film from suggestions of child abuse on the part of Ruth Warrick to an interesting spin on the theme of infidelity where the most sympathetic character is the "other" woman Daisy Kenyon. I can see why this role would have appealed to Ms. Crawford having played variotions on it in "The Women" and "Rain" among others throughout her career. She is the wise one here and it makes the movie very interesting for that reason. I won't say who wins her in the end but it leaves a nice smile on your face and you have a little laugh to boot.