Il segreto di una donna

Movies were meant to entertain, and not all movies can be a "Citizen Kane" but this movie does what it's meant to do. Gene Tierney, perhaps the most beautiful actress ever to grace the screen, and highly under rated, handles the task of playing the fragile, accused murderess in the movie. An odd choice but Jose F. does a great job too...his hospital scene still makes me wince when he gets up from his bed! Barbara O'Neil (aka, Scarlet's mother) pops up in the most unlikeliest of places, but I have a new appreciation for her work. She adds style and elegance to every movie she appears in, including this one as the murdered socialite. Sure the movie might have some flaws, but if you listen carefully everything can be explained. It's great viewing time and again.

Another complex, at times morally ambiguous film noir from Otto Preminger, engaging the services of top writer Ben Hecht and actors of the quality of Gene Tierney & Jose Ferrer to give it life. It's old ground of course for all of them, Preminger and Tierney had teamed up in "Laura" and, with Hecht were to do so again in the soon-come "Where the Sidewalk Ends" while Hecht had previously turned psychoanalysis to thrilling effect in Hitchcock's "Spellbound". There are certainly some typically subversive little Preminger / Hecht touches, I detect, of voyeurism and fetishism, running the film close, I would imagine, to the prevailing moral code of the day, which the former was to take on further in "The Moon Is Blue" and to some kind of apogee in "Anatomy Of A Murder" 10 years later. Look and listen closely here and you'll see the camera fading out a shot of Tierney's husband just about to disrobe his wife after she falls into a hypnotically induced deep-sleep and at another point the salacious quote addressed to Tierney by morally corrupt blackmailing hypnotist/astrologist (what a CV!) Ferrer about "undressing her scruples". I was even pulled up by the scenes of the blood-marks on the floor from Ferrer's character as something you didn't see everyday in the sanitised, Hollywood still coming to terms with the Communist witch-hunt in the post-war era. The playing is excellent, Tierney, who I've only just discovered as an actress (largely through watching old film-noirs!) is again radiantly beautiful as the ashamed kleptomaniac, desperate for a cure, but at the same time conveying her character's complexity and inner toughness as she finally breaks the hypnotic spell cast on her by Ferrer. For me, Ferrer steals the movie, making your skin crawl in every scene he plays once his perverted (in every sense of the word) designs become apparent. Their scenes together, where he can hardly conceal his lust for Tierney and desire to break up her happy home are electric and he also gets a lengthy scene where he hypnotises himself against the excruciating after-effects of his self-conducted gall-bladder operation. He completely convinces you of his strength of will over his physical pain to enable him to go after Tierney as she struggles to recover her amnesia which will of course expose his own guilt. The direction is taut, the cinematography excellent, the settings convincing and I also especially appreciated the excellent use of music to dramatise key scenes. Naturally there's a large degree of implausibility about just how Tierney finds herself under the control of such a toxic character and the denouement is perhaps more complicated and played out than it might be but this is still a highly intelligent, challenging piece of cinema, further pushing back the barriers of adult cinema in late 40's Hollywood.

Oh sure, Ann Sutton could pay for that pin - or for many other things - but there's something, probably, about the thrill of taking something, very non-chalant out of a store, especially as an unsuspecting adult white woman in the late 40's, and not getting caught. Is it Kleptomania? Perhaps. But the point is, at the start of Whirlpool, Ann gets caught at a department store stealing a pin, and she's in luck that David Korvo is there to help excuse her away - these are false charges after all, she has the money to buy a dozen of these pins, right - but there's a catch to her being let go: not so much for money, at least it seems at first. She tries to pay him, but for five thousand, p-shaw. No, he wants to get at her mind, to find what it is that made her do this thing... but it will lead to murder.

Gene Tierney and Jose Ferrer play Ann and Korvo, and they're both excellent here. Even a one and a half note character (not quite one, maybe, almost two dimensional, if it tried) like Ann's husband Bill gets a solid performance out of Richard Conte, to the point where we really feel for their marriage, and see the conflict very plain as soon as Ann 'turns' on to her 'nothing's the matter' tone of voice to her husband after she comes home and tells the maid that there's something very wrong and she must speak to her husband soon as he gets home. Is she crazy? Has she been driven mad? She's no femme fatale really - she is in what seems to be a fairly happy marriage (though at one critical point she'll say otherwise in a very tense confessional). But she is flawed and interesting, and that helps.

It's especially good that this character is so strong, as well as Korvo being an equally strong, conniving villain, and we know he's a villain from basically minute one but the fun is seeing how he does things like slip a glass with the lady's fingerprints into his jacket while she's away for a minute from the lunch table. But there's a couple of plot holes here that are jarring - one is more character-based and comes in the third act, it felt like a scene was missing that involved convincing a particular character to give Ann one more chance, and there was a connective tissue from the convincing to her not in prison - and I have to wonder how much they cut out of the book. It seems like a lot. Not to mention the notion of how completely tight the hypnosis can be, just how air-tight a plot can be (that we don't really see be suggested by the way) for Ann to go out in her car and get those records and then for that other thing to happen.

Whirlpool isn't weak tea by any means, but I have to think Preminger, despite some clever camera angles and the usual flair for hardcore film noir as a director (the tension in that final scene is really terrific, especially how a character hides just until a certain moment) would have had some trouble without this cast. Thankfully, Tierney gives this character credibility and she makes her fragile, torn and frayed, and when she's in her hypnotic trances it's like she's walking on air. I even liked the one/two scene turn by Barbara O'Neil (Constance Collier also has some good lines). Not something to rush to see, but it's a fair follow-up for the director and star from Laura - more of a B-side if one were to screen them back to back

In a movie like "Whirlpool" you must take the good together with the weaknesses and naivety. The story is reasonably interesting and entertaining: the quack doctor Korvo (Jose' Ferrer) hypnotizes and cheats Ann Sutton (Gene Tierney), the spouse of a distinguished psychoanalyst (Richard Conte). A mysterious murder ensues... Unfortunately, some twists of the story are unplausible, to say the least. The moody atmosphere and the suspense are tame, even for the standards of the 1940's.

The black and white cinematography and the use of the camera are excellent. The direction by Otto Preminger is sound. The job of the cast is very good, especially by Jose' Ferrer, Gene Tierney and Charles Bickford, as the old, life-weary policeman. Richard Conte is less convincing, possibly due to the uneasy character he has to play: a famous analyst who, indeed, is incredibly dumb in getting the mental problems of his adorable spouse. There is a certain evidence that old masters of film-making had no much esteem of psychoanalysis: here Dr. Sutton seems far less competent in psychology than the quack doctor Korvo.

The major credit of "Whirlpool" is the presence of Gene Tierney. Her divine beauty shines through the film, although it somewhat makes Dr. Sutton seem even more stupid. I say: Sutton neglects Gene Tierney, to go to some blasted scientific conference. Are you kidding or what? And Gene has some scenes to show her outstanding talent as an actress. For instance, see Gene at the police station, first dizzy at her voids of memory, thereafter bravely facing and ill-using her husband, who thinks her to be an adulteress (another great job by Sutton! He is really a genius!).

Thus Gene Tierney's class, loveliness, radiant beauty, talent are largely enough to erase the defects of "Whirlpool". Let me recommend this nice movie.

Just watched this last night. I'm a fan of Otto Preminger and was therefore full of hopes, but after a terrific opening 20 minutes, it sort of falls away after all that I think. However, what a fantastic performance from Charles Bickford as the Lieutenant. Brilliant. Worth it to see his performance alone -- Ferrer is wonderful in the opening scene when he defends Gene Tierney and generally adds the right dosage of menace, but the self-hypnosis in the hospital bed is unlikely and the final ten minutes in the house are vaguely ridiculous. The relationship between him and Tierney is very strong however. It is sad to think that Tierney struggled so much health-wise, because to my mind she was the most beautiful of her generation and is utterly plausible in any of the movies that I have come across..