La confessione della signora Doyle

A hardened woman returns home to a fishing village only to be caught between two men.

At least the movie has Andes and Monroe whose characters come across as refreshingly natural, along with revealing stock footage of the fishing industry. However, the rest of the film is pitched about ten decibels over the top, with all the subtlety of a hammer blow. Douglas's Jerry is not just a nice guy, he's a rub-your-nose-in-it Nice Guy. Similarly for Ryan's cynical Earl and Stanwyck's hard case Mae. Not even such first-rate performers as these can overcome the relentlessly overblown dialog or stagy sets. Nor does it appear the three were allowed to shade their performances beyond one-dimensional caricature. At the same time, the symbolism of roiling seas and surging tide is about as necessary as gravy on soup. In short, the movie amounts to a textbook exercise of heavy-handed histrionics and too much talk, Fritz Lang or no Fritz Lang.

I expect other reviewers are right about the material being shaped for 1950's audiences. In those days, one way of getting people away from TV was to promise them titillation since there was none on TV. But then producers faced the problem of Production Code limits on what could be shown or said on screen, especially in the way of sex. Thus, the emphasis in the film is on the atmospherics of desire instead of anything more literal. This results in a movie that, unfortunately, drowns in an overlay of heavy breathing, standard innuendo, and redundant symbolism. Such may have titillated audiences then; now there's just a dreary sameness in the repetition. At the same time, that turnaround ending shouldn't be overlooked. Unhappily, it's of the same Code-compromised sort that damaged more 50's movies than just this one.

I guess my biggest regret is how the movie takes three of Hollywood's most capable actors and reduces them to near-caricature of their usual screen persona, Douglas and Ryan, especially. Here's hoping they were at least well paid.

CLASH BY NIGHT is a melodrama that betrays its stageplay origins with some artful but sometimes arty dialogue that attempts to get us beneath the skin of its three main characters--and occasionally does. But it's a tribute to the acting skill of Stanwyck, Paul Douglas and Robert Ryan that their characters come alive with all their flaws and longings exposed.

Barbara is excellent as a woman who returns to a fishing village after a long time away, a bitter, defeated woman still trying to find a niche for herself. Paul Douglas does a remarkably fine job as a good-hearted man, simplistic in nature, who latches onto her only to have her betray him with the lusty Robert Ryan. Lookers on include two very interesting performers--Keith Andes and Marilyn Monroe (on her way up). Andes breathes life into the role of Barbara's disgruntled brother and should have been groomed for stardom--he had the looks and appeal of a major star.

A somewhat downbeat ending resolves the conflict--but along the way there are some very high-strung moments from Stanwyck that she plays to perfection. Marilyn Monroe demonstrates talent in a minor role.

A bit talky and stagebound in some scenes--but an interesting melodrama thanks mainly to the gripping performances of Stanwyck, Douglas and Ryan. Ryan would have made a great Stanley Kowalski in 'Streetcar' based on his drunk scene in this one. He can play a brute about as well as anyone and here he's quite an actor, matching Stanwyck's intense performance with a sturdy one of his own.

Barbara Stanwyck is so good at playing rough-hewn women--characters with a cynical edge--that it's easy to take her presence here for granted. Once again, she's remarkably fine cast as a tough cookie returning to her hometown along the waterfront and eventually reuniting with her estranged brother. Meanwhile, Marilyn Monroe is fun as a sassy local girl (although her lines sound as if they were looped in post-production) and Paul Douglas is terrific as usual playing a lovestruck skipper. Tempestuous melodrama from director Fritz Lang is decent fare, with heated emotions and florid dialogue, but perhaps more subtlety and nuance would've made it a more memorable picture. **1/2 from ****

The subheading in the IMDb page for "Clash by Night" calls this film noir. Many fans of the genre may be disappointed. It does have one of the great film noir directors in Fritz Lang and stars two of the genres foremost performers in Barbara Stanwyck(DOUBLE INDEMNITY) and Robert Ryan(The Set Up). However, the style is more romantic drama than film noir. It reminds me of the filmed plays by Elia Kazan like "A Streetcar Named Desire". It even has a character screaming a name out the window. I guess the crime element is missing here but I guess infidelity would fit. The dialogue is up to the standard you'd expect a luminary like Clifford Odets to create. I was unsure if I would agree with the way the film ended but the characterization and plot were so well done, I knew that the ending would not disappoint. I was right.

The bitter and cynical Mae Doyle (Barbara Stanwyck) returns to the fishing village where she was raised after deceptive loves and life in New York. She meets her brother, the fisherman Joe Doyle (Keith Andes), and he lodges her in his home. Mae is courted by Jerry D'Amato (Paul Douglas), a good and naive man that owns the boat where Joe works, and he introduces his brutal friend Earl Pfeiffer (Robert Ryan), who works as theater's projectionist and is cheated by his wife. She does not like Earl and his jokes, but Jerry considers him his friend and they frequently see each other. Mae decides to accept the proposal of Jerry and they get married and one year later they have a baby girl. When the wife of Earl leaves him, he becomes depressed and Mae, who is bored with her loveless marriage, has an affair with him.

"Clash by Night" is an unpleasant drama with a bitter story and a moralist conclusion, actually a minor film of Master Fritz Lang in his career in Hollywood. Barbara Stanwyck has another magnificent performance in the role of a woman hardened by her bad sentimental and life experiences in the big city that returns home due to the lack of option. There is one quote ("When you run out of places, home is all you have left") that defines her mood. Paul Douglas plays a good honest man that nurses his old father, helps his crook alcoholic uncle and accepts the past of Mae Doyle, giving her a second chance. Robert Ryan plays a despicable rude man and disloyal friend. The affair between Mae and Earl has no chemistry and is only sexual desire. Last but not the least, it is delightful to see Marilyn Monroe playing a silly character. My vote is seven.

Title (Brazil: "Só a Mulher Peca" ("Only the Woman Sins")