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It's hard deglamorize Loretta Young, and in fact, even the tailored outfits and the upswept hair don't do it in "The Accused" from 1949, also starring Robert Cummings and Wendell Corey. She's still considered quite a dish by anyone who meets her, including an amorous student (Douglas Dick).

Young plays a psychology professor who, about to be assaulted by a student, kills him and attempts to cover it up. At first it looks like a drowning, but later, it's discovered to be homicide. The young man's guardian (Cummings) arrives as the detective in charge of the case (Corey) zeroes in on Young.

Good movie with effective performances. Douglas Dick is appropriately smarmy.

My only objection would be, looking at it in light of today, the Young character made a bunch of mistakes with this guy that only a really foolish teacher would make today - or possibly back then. He is so obviously sexually aggressive, it's hard to believe she would have allowed herself to be alone with him.

Young and Cummings for me are always watchable, so I liked it.

A college professor (Young) commits murder while defending against an over-amorous student.

That noirish opening scene of a dark figure struggling along a deserted nighttime highway is iconic, especially when followed in flashback by deserted city streets and a lonely all-night bus. But once the flashbacks end, the movie settles into a fairly routine game of cat- and-mouse with strong psychological overtones. I'm also tempted to say the movie becomes a vehicle for Young, who gets to transform from dowdy career woman to fashionable beauty. However, the male roles (Cummings & Corey) are too large and well acted to allow that. Nonetheless, the film remains a Young showcase where the diva even gets to do the little fashion pirouette that distinguished her TV series.

Note a convention of the time: namely, that a woman can't have a career and be beautiful at the same time. Thus, Wilma (catch the plain-Jane name) as a professor is both grim and repressed. It's only after she essentially drops the career role that her appearance flowers. Young handles the demanding transition pretty well, without going over the top. Nonetheless, the number of close-ups leaves no doubt who the star is. My money, however, is on the rather exotic Wendell Corey (Det. Grogan). He's such an icy presence, it's hard to keep your eyes off him. Too bad that alcohol got the best of this unusual actor.

All in all, the pace may drag at times, but the movie still features enough points of interest to keep the momentum going.

Here is as "quiet" a suspense film as you are likely to encounter. That is all to the good, as beneath its placid surface crackle psychological crosscurrents that generate tension throughout. Each of the main characters is an interesting study, with ambivalent emotions that alternately spark and grate against those of the others. Additionally (and ironically), these characters are all involved in recognizing and dealing with such behavior, being a psychology professor, a detective and a lawyer respectively. A bit verbose at times, and resolved with a glib, less-than-satisfying ending, this picture nevertheless deserves a wider audience - if it has any at all nowadays. The performances are rock-solid and properly understated for the most part (even by Robert Cummings) in keeping with the conservative small town atmosphere; but there are effective contrasting performances as well, in the smaller roles of the few relatively unbalanced characters, as played by Douglas Dick, Suzanne Dalbert, and especially Sam Jaffee.

The Accused This is one of those popular story lines in which the killing is shown early on and then the film deals with the police trying to piece things together while the killer tries to look innocent.

In this case, the "accused" is a woman, played by Loretta Young. She plays a college teacher who defends herself against an obnoxious student but then makes the big mistake of trying to cover up the incident, even though it was self- defense, thinking it would look bad if she was discovered being with this student in the first place. (Today, we read true-life stories of worse, sad to say.)

Bob Cummings and Wendell Corey are detectives who know some foul play is involved but then Cummings, who gets increasingly annoying in here, falls in love with Young. He then winds up defending her in the short courtroom finale. Cummings gives a good example how "love is blind."

Corey, meanwhile, plays the determined cop who doesn't care what people think of him so long as he solves the crime. He is by far the most interesting of the characters in this film. Sam Jaffe also entertains in a supporting role as a crime doctor.

The twist on what we now call sexual harassment lingers as the most interesting aspect of The Accused, an innocuous suspense story with some effective moments. Another lingering aftertaste is the midcentury stereotype of the female academic that's foisted on star Loretta Young -- and the viewer.

Psychology professor Young (!), guarded and old-maidish (she's even saddled with the glamourproof name Wilma Tuttle), becomes the object of the unhealthy attentions of one of her students (Douglas Dick). On the pretext of diving for abalone shells off Malibu, he spirits her off to a secluded lover's lane one night and forces himself on her. She bashes in his skull and fakes his death to look accidental.

Then she begins to attract more attention -- from Robert Cummings, a lawyer friend of the dead boy's family (he falls for her), and Wendell Corey, a dogged homicide cop. In the acting department, there's no contest; Cummings stays his usual namby-pamby self, while Corey delivers a strong, unsentimental performance, among his best.

Much of William Dieterle's direction shows a practiced hand. Especially well handled are the opening sequence of Young fleeing the crime scene, a boxing match where she suffers a flashback, and the ghoulish reconstructions of the murder by forensic pathologist Sam Jaffe.

But a glaring structural flaw keeps The Accused lukewarm. We know from the outset that Young acted in self-defense, which pretty well leeches all the suspense out of Corey's implacable pursuit; the tightening case against her packs no impact because it's safe to assume she won't be spending any time with those harpies from Caged. Consequently the film focuses more on her emergence from a cocoon of droopy skirts, a bun in her hair, sleeping pills and swooning spells into a seductive butterfly flitting into Cummings' net.

Dick, as the young narcissist, calls to mind such amoral charmers as Robert Walker in Strangers On A Train and John Dall in Rope (a film in which Dick also appeared). It's he -- not young nor Cummings -- who supplies what faint erotic spark this movie, about a sexually-based murder, dares to kindle.