Tenebre

A huge stone bake oven, a curly blonde wig, a dead crow, and an old ink blotter are all elements that propel the drama in Charles Vidor's "Ladies in Retirement". This terrific -- and now largely forgotten -- piece of Victorian noir certainly deserves to find a new audience among classic film buffs.

Actually, "Ladies in Retirement" plays much like a "set piece" with almost all the action occurring inside a British country home. And the dramatic structure of the film is lifted faithfully from the stage play, but like the similar "Night Must Fall", the dialog, the characters, and the plot machinations make it an absorbing and suspenseful, and for those not familiar with the play, fairly unpredictable. Director Charles Vidor manages to keep it vital and visually interesting by setting some action on the dim and dank marshes that surround the house, and certainly the set designer and set dressers did a spectacular job in imagining the marshes of England, in a very subjective and ominous manner. The black and white cinematography makes the most of the foggy mist, the twisted trees and shrubs, craggy rocks, and the myriad birds that enliven the scenery. You can almost smell the mold and stagnant water in these scenes.

What makes "Ladies in Retirement" so terrific is the performances by the expert ensemble cast. First mention should go to veteran performer Isobel Elsom, who recreated her Broadway role in this movie, and certainly hits all the right notes as the retired showgirl Leonora Fiske. She's wonderful and perfectly cast, and lends a depth and sincerity to a character that played by a lesser actress would have seemed buffoonish. But Elsom can appear both flighty and silly, but also steely in her determination and cold and unyielding as a iceberg.

Ida Lupino plays Ellen Creed as repressed woman, desperate, and almost ready to explode at any moment, and she appears in sharp contrast to Elsom's blowzy Miss Fiske . From the first shot in the movie, Ellen's face is dark and tormented, as she reads her mail and then tortuously twists the letter in her hands before stuffing into her apron. She then expertly hides her distress over the plight of her sisters before Miss Fiske and her domestic Lucy, in a scene that showcases Lupino's command of the character. Ellen Creed thinks, plots and even connives at how to keep her family together, and the stress certainly reads in her face as she controls every scene by subtly hinting at her stifled emotions and repressed hostility. Even her affection for her poor sisters seems measured, restrained and qualified.

There's also great entertainment in the supporting performances. The inimitable Elsa Lanchester scowls and grumps, becoming a truly remarkable Emily. She seems to favor her sister Ellen, since she can be decidedly serious and dark, then lighting up only at rare times. Lanchester's persona was perfect for this role, as she can tiptoe the line between pathetic and frightening. She's a formidable presence with her angular features and bellowing voice, certainly enough to cause pause in any sensible person.

As the fragile and flighty sister Louisa, Edith Barrett may come off as a bit too broad and over-played, but she certainly endears herself to the audience. Her character is girlish, flirtatious and also quite wide-eyed and deranged, and her exchanges with a coachman supply great comic relief. Barrett makes her scenes so amusing that you really do care for the fate of her character. This actress is certainly one who should have achieved greater acclaim in supporting roles.

Louis Hayward portrays Ellen Creed's crafty "nephew" Albert Feather. He charms and flirts his way into the Fiske household like a low-rent Cary Grant, with a cockney accent and very winning ways. Hayward and Lupino were married at the time of filming and there scenes are electric with sexual tension. Albert provides a great temptation to Evelyn Keyes' innocent housemaid Lucy, who also deserves mention as an important member of the ensemble. Her accent is perfect, she glows with youthful beauty, and her tiny tantrums and sly flirtations still enliven every scene in which she appears.

"Ladies in Retirement" exemplifies classic Hollywood film-making at its apex of artistry by the great performances of its players, the refined and expert vision of its director, and the wonderful imagination of its designers. From the Columbia Studio fanfare until the end credits roll, classic film enthusiasts should find enjoyment in every frame.

Some people get the strangest notions. Take Ida Lupino in Ladies In Retirement. She's served faithfully and well as a companion/secretary to rich Isobel Elsom for many years and when her sisters Elsa Lanchester and Edith Barrett come for a visit Elsom allows them to stay. But when they start taking over the place Elsom says they have to go. Instead it's Elsom who goes rather permanently and the story goes out that the woman has gone away.

Also now squatting at the residence is the nephew of all three of the sisters, son of a fourth sister who was apparently the only one who married. He's played by Louis Hayward and this isolated place on the English moors is ideal for a man who is on the run from the authorities after stealing 100 pounds from the bank he was employed at. He's guilty of embezzlement, but aunt Ida is guilty of maybe something far worse.

Once again Hayward shows his versatility after playing the swashbuckling hero son of the Count Of Monte Cristo now reverts to playing a blackmailing villain. He never had the major studio ties that his two main competitors Errol Flynn and Tyrone Power had, but he also was allowed to vary his roles as he wasn't as big a star as these other two. Hayward was just a fine and versatile actor.

Lupino though is the real star here. A very steely woman with iron self control she sees her world start to crumble around her as people become suspicious. Most suspicious of all is Hayward who even though he's on the run isn't above attempting some blackmail. Impervious to it all are clueless spinsters Lanchester and Barrett.

Those moors which provided so much story inspiration to Charlotte Bronte and Arthur Conan Doyle serve once again as a grand back drop to Ladies In Retirement. The final fadeout of Lupino on those moors is unforgettable.

Ladies In Retirement got Oscar nominations for Art Direction and Music Scoring. Sad that neither Ida Lupino or Louis Hayward were similarly recognized. Though they got each other as prizes as Hayward married the woman who played his maiden aunt in the film.

Definitely a film for Ida Lupino fans and Louis Hayward is an actor waiting to be rediscovered.

Glorious Gothic camp. A seemingly unlikely, yet perfectly cast, Ida Lupino is the stiff-backed housekeeper and companion to fussy actress Isobel Elsom. When she discovers that her two daft sisters, (an excellent Edith Barrett and a superb Elsa Lanchester), are to be evicted from their lodgings she decides to move them in but first she must do something about her employer. Things get complicated when Lupino's scurrilous 'nephew' turns up and is quick to put two and two together.

The setting is one those quaint old cottages on the English marshes that are perpetually shrouded in fog and which one someone in Hollywood could dream up and the source material was a play by Reginald Denham and Edward Percy. By rights it should be terrible but it's actually hugely enjoyable and Lupino's terrific, (she makes for a very sympathetic murderess). It's the kind of film that would sit very nicely next to "Hush Hush Sweet Charlotte" and "Whatever Happened to Aunt Alice".

it's been so many years since i've seen this remarkable movie that most of it is forgotten. but its effect endures. that brick oven in almost every interior shot. the subtle verbal fencing between feather and ellen creed. the simple-minded amusements of her sisters. her panic near the end is so well conveyed, i still remember her face. ida lupino elaborated on her great acting in "the light that failed". she deserves to be remembered as one of the great female stars. the atmosphere of this film is very much like "night must fall", which featured a hatbox instead of a brick oven. louis hayward was a perfect foil for lupino, his insinuating, prying remarks bringing out her best (worst) emotions. i can't wait to see this gem of english intrigue another time.

Ida Lupino as Ellen Creed cryptically says to her nephew (Louis Hayward). Lupino is in top form here as a housekeeper who must care for her two sisters who are being evicted or sent to an asylum. It is the late 1800's and the weather on the heath is unforgiving and reminiscent of a Bronte novel.

Elsa Lanchester and Edith Barrett portray the two sisters whom Lupino must care for. She lives at Leonora Fiske's (well-portrayed by Isobel Elsom) mansion and at first the sisters are allowed to stay. But Ms. Fiske is an eccentric matron and tires of their company. She informs Ellen Creed (Lupino) they must leave. ..."Have you no compassion, no feeling for the poor?"... Lupino intones this even as she sees the mistress of the house will be throwing her out on the street. Lupino feels obligation to the two wayward sisters, who have some mental issues and would have been (at that time probably) committed to Bedlam state asylum. So she decides what she must do.

Later, Louis Hayward pops up and is the nephew. He becomes suspicious when Ms. Fiske never shows up; He is intrigued that his aunt suddenly owns the house. There is much suspense here and the cinematography is haunting and shadowed; we are not certain at the capabilities of Ellen Creed (Lupino) or what she may do next. I also highly recommend "Road House" with Ida Lupino and Richard Widmark. Excellent and could never be remade today. 10/10.