Il romanzo di Telma Jordon

.... What is a pretty lady doing here in the middle of nowhere all alone, interested in a married man with middling prospects?

Assistant DA Cleve Marshall (Wendell Corey) feels misunderstood and unappreciated. His wealthy father-in-law keeps interfering and showing up on important and rather private occasions such as wedding anniversaries and doing things that indicate that Cleve is held in only medium esteem by said father-in-law. So one night he is getting drunk at his office over this situation when previously mentioned pretty lady (Barbara Stanwyck as Thelma Jordan) comes into the office and asks for the other assistant DA, Miles Scott (Paul Kelly), but he isn't there, so Thelma tells her problems to Marshall.

Marshall acts disinterested in the reason she came in - break-ins at her wealthy aunt's secluded home. He flirts with her. He gets even more drunk and obnoxious, then kisses her. And yet the next day she returns and gets even friendlier with him. But Cleve never asks that question - Why unavailable me who did not exactly put my best foot forward last night? They start seeing each other when they can and then something happens that makes it awfully convenient for Thelma to know somebody in the DA's office - Her aunt is murdered and her safe robbed one night, and she looks like a suspect.

Stanwyck and Corey made one other film together - "The Furies", and I thought they had good screen chemistry, which I would have never believed until I watched this. Paul Kelly gives a good supporting performance as the other assistant DA. He goes hard on a murder suspect when doing the questioning, shooting out sarcastic remarks. That's rather ironic when you realize Kelly served two years in prison for manslaughter during the late 1920s, something that apparently had no impact on his acting career. Also note that the two kids playing Wendell Corey's children actually are Wendell Corey's children.

Last but not least, kudos to Victor Young for his wonderful score. He really made looking for a pencil in the dark seem suspenseful.

There have frequently been two main reasons for seeing any film etc. One is the cast, so many films have a cast full of very talented actors that promises already so much. The other is if the story/premise itself sounds very interesting on paper. 'The File on Thelma Jordan' is another one of many examples to have both those things. Am also a great admirer of Barbara Stanwyck, and saw it also to see as many of her films not yet seen as possible.

On the most part, 'The File on Thelma Jordan' is pretty impressive with a lot of great things going for it. If it had a better male lead and had a tighter pace to begin with, there was a lot of potential for it to be great. It just falls short of that but the good things are many and those good things are actually excellent. It really helps that we have such a great actress excelling in a role that plays to her considerable strengths and that we have a director that was experienced in this type of film.

Am going to start with those good things. First and foremost, Stanwyck. She is absolutely marvellous here, she has a real allure and at times vulnerability but is also very steely and evokes chills. The supporting cast play their parts very well, even if none are quite on the same level as Stanwyck. Stanley Ridges especially comes over well. As does Robert Siodmak (who has done quite a lot of good films, especially 1946's 'The Killers'), showing a lot of flair and eye for detail and atmosphere.

Visually, 'The File on Thelma Jordan' looks great. The photography is both gorgeous and atmosphere-filled. The lighting is suitably moody and the production design is suitably elaborate. Victor Young's score looms ominously in all the right places. The script is sharp and thought probing and the story has suspense and surprising grit. It is also not hard to follow without being simplistic.

Wendell Corey was less good though in my view. Found him a bit too meek and anaemic in a role that too often goes overboard on the passiveness. He has a little more chemistry with Stanwyck than what was seen in 'The Furies', but it doesn't quite fire enough on all cylinders. It's competent but under-explored.

Pace wise, it could have been tighter in the early stages and takes too long to get going. While the ending is a surprise, it could have been handled with more subtlety.

Overall though, it is worth watching. 7/10

The Assistant District Attorney Cleve Marshall (Wendell Corey) has an unhappy marriage with his wife Pamela Blackwell Marshall (Joan Tetzel) due to the interference of her father, Judge Calvin H. Blackwell (Minor Watson). He decides to drink in his office after hours instead of going to the birthday party of Pamela. Out of the blue, a woman named Thelma Jordon (Barbara Stanwyck) arrives at the office looking for Cleve's boss to report an attempt of robbery of her wealthy Aunt Vera Edwards (Gertrude W. Hoffman) and she ends the night drinking and dancing with Cleve in a restaurant. Soon they have a love affair and Cleve falls in love with Thelma. But he does not know anything about the past of the mysterious Thelma. When Aunt Vera is murdered at home, Thelma calls Cleve to help her since she would be the prime suspect of shooting her aunt. He covers up the evidences that might link Thelma to the death becoming her accomplice and is assigned to be the prosecutor of her judgment. What will happen to Thelma and Cleve?

"The File on Thelma Jordon" is a fine film-noir directed by the master Robert Siodmak. Barbara Stanwyck performs the typical femme fatale, seducing the assistant DA Cleve Marshall and destroying his life. The moralist conclusion could have been better but the film is worthwhile watching. My vote is eight.

Title (Brazil): "A Confissão de Thelma" ("The Confession of Thelma Jordon")

The File On Thelma Jordon turns out to be an extensive one indeed. Had Wendell Corey examined it more fully he might never have gotten into the jackpot he did.

A lot of critics compare this film with that other Stanwyck classic, Double Indemnity. There are certainly elements of that story in The File On Thelma Jordon. But I also see a lot of resemblance as well to the Dick Powell-Lizabeth Scott-Jane Wyatt noir film, Pitfall. If you've seen that one it involves a married, but bored Dick Powell casually drifting into an affair with Lizabeth Scott and getting sucked into some criminal enterprise. Joan Tetzel steps into the role of the wronged wife and was every bit as good as Jane Wyatt was in Pitfall.

One desultory night as Wendell Corey is working late and getting helped along with a little libation, in pops Barbara Stanwyck to the District Attorney's office to complain about the lack of action the police have been giving to her complaints about someone trying to break into her house where she and her elderly aunt live. Corey's state of inebriation seems to be loosening any moral restraints and Barbara leaves him hooked and begging for more.

So when the elderly aunt is in fact murdered, Corey doesn't think like an officer of the court, but instead he's using the gray cells in his male member to make decisions. He winds up prosecuting Stanwyck and paying for high priced defense attorney Stanley Ridges on the side. By the way Ridges is one shrewd article and suspects what's up, but keeps his mouth shut.

Paul Kelly is in the Edward G. Robinson role as another member of the District Attorney's office who realizes this case has far more layers to this than originally thought.

The film is definitely one that should satisfy Barbara's legion of fans.

The File on Thelma Jordon is directed by Robert Siodmak and written by Ketti Frings and Marty Holland. It stars Barbara Stanwyck, Wendell Corey, Paul Kelly, Joan Tetzel, Stanley Ridges and Richard Rober. Music is by Victor Young and cinematography by George Barnes.

Assistant district attorney Cleve Marshall (Corey) falls for Thelma Jordon (Stanwyck) after she seeks help solving a problem with prowlers and burglars. But is there more to Thelma than meets the eye?

Probably due to availability issues in home viewing formats, this appears to be one of film noir legends Siodmak and Stanwyck's under seen pictures. Which is a shame, for although it is often tagged as something of a lesser value Double Indemnity, it's a noir that noir lovers can get great rewards from.

As we are in noirville the plot isn't at all surprising. Stanwyck fronts up for what we expect is femme fatale duty, Corey looks to be on course for being a hapless loser dude, Kelly is up for some tough copper portrayal, while Rober stalks the edges of the frame as bad news bloke. A despicable crime is at the core of the story, and characterisations are straight out of the dark alleyway (Thelma has murky secrets and ideals, Wendell is unhappily married with a drink problem). Running at 100 minutes in length, the pic does feel a touch too long, especially given that the first thirty minutes is focused on building the principal players, where they are at in their life and the build up of their relationship. This asks for faith in staying with the piece, in hope it rewards for the following hour plus. Thankfully it does.

As the crime arrives, we are treated to noir nirvana as per style of film making. It's the middle of the night in a house menaced by shadows as the wind bashes an open window shutter. For a good twenty minutes, prior to - during - and post the crime, the house is a scary monstrous place, perfect for a dark deed to be enacted. The great Siodmak (The Killers, The Spiral Staircase, Criss Cross) is in his element on this, where aided by the superb photographic skills of Barnes (Rebecca, Force of Evil), the staging of scenes and the visuals enhance the moody machinations of the plot. As does Young's dramatic musical score. So with acting performances comfortably on par for the good, the tech credits are high.

Irks come with that drawn out first third of film, and the ending poses some question marks as well. Personally I would have liked it to have finished five minutes earlier, but as it stands there's a sort of double whammy with the finale. Some will find it contrived, others will applaud the ultimate outcome since it doesn't cop out. Either way, this is a noir film worthy of seeking out for the like minded purveyors of such things. 7/10