I dannati non piangono

Loosely based on Virginia Hill (Bugsy Seigel's moll), Director Vincent Sherman's film gives it a melodramatic gloss adapting it for star Joan Crawford. Enough of the essential underworld nastiness survives to edge it into Noir territory. Crawford plays Ethel, an unhappy housewife to an oil worker (Richard Egan). Fed up, Ethel moves to the big apple to start her life anew. She ends up as model for a fashion house, earning extra "tips" by wining and dining the firm's clients after hours. Along with the company's accountant Martin (Kent Smith), the pair end up meeting the head honcho for a crime syndicate, the oily George Castleman (David Brian). The pair finagle their way into Castleman's graces through Martin's ease with figures and Ethel's figure* (and her clawing to the top, wiles). On 'assignment' to the West Coast to keep tabs on a renegade operative in Castleman's organization, Nick Prenta (Steve Cochran), Ethel becomes further entangled. The screenplay and production are very slick. The acting smooth. DAMNED is a well done and smoothly entertaining film. Crawford gives a standout performance as the social climber who seemingly will stop on nothing to get what she wants, no matter who she has to hurt along the way. Cochran is charismatic as the Bugsy Siegel stand-in. The casting of the ultimate milquetoast Kent Smith is a master-stroke, perfectly setting up the character's story arc. David Brian has an icy frightening glare which Cinematographer Ted McCord amplifies, at one point making his eyes glow like something out of VILLAGE OF THE DAMNED! DAMNED DON'T CRY is a fine example of sunlit Noir (although there are plenty of dark scenes) and an interesting cross-over with gangster crime pictures. Using Frank Sinatra's real Palm Springs pad as Prenta's hang gives it that much extra verisimilitude. Keeping all the other superlatives in mind, this is still Crawford's picture. Her avaricious Ethel is Noir classic. Of course, any similarity to the actresses real life persona is strictly intentional!

* P.S. One aspect of the film that is the elephant in the room is that the viewer has to accept that Crawford's physical beauty is such that it makes every man she meets melt in front of her. She was an attractive woman, particularly in her earlier years, but, by the time of DAMNED she was hitting her mid-40s. Watching men drool as if Gene Tierney, Ava Gardner or Rita Hayworth had strided into the room is a bit much.

Joan Crawford portrays a young woman on the edge of poverty who decides to change her life for the better. Unfortunately, she thinks that money is the answer to every problem. A smart drama, though formula most of the time. An excellent cast includes David Brian, Steve Cochran and Kent Smith. This is a film worth seeing.

I have to say that this is one of my very favorite films. A truly entertaining movie. Briefly, Joan Crawford plays a good woman who's world is turned upside down by a tragic event. She decides to climb her way out of poverty by using everyone she comes in contact with and falling in with a lot of shady characters. She makes her way to a life of glamour and wealth, only to see it all fall apart when her bad karma comes back to haunt her. For all the Joan Crawford jokes - this is actually quite a good movie. The dialogue is crackling and all the actors are very good. Joan does not go over the top and gives a convincing portrayal of a woman who has lost her moral compass - but then regains it in the end. There are of course some melodramatic moments, but not too many. The production values are top notch - lots of location shooting - mainly in Palm Springs, to really get you into the setting of the film.

I would classify this film as a film noir - it starts out as who-done-it and features noir stalwart Steve Cochran. If you are looking for an entertaining flick - you can't go wrong with this one!

Sure I agree that Joan Crawford was too old for THIS part, which required a 20-something bored with her slug of a husband. Then wanders off and has men chasing her skirt basically 24/7.

Nevertheless - and most ironically - the decision to strip her of the usual five layers of war paint reminds viewers just how ridiculously good-looking Joan Crawford was. And pardon me for saying so,but I had no problem - None Whatsoever - believing Joan with a more natural look, parading around in model's lingerie or dinner clothes, and sporting a cheeky attitude, would have men falling all over themselves.

She is, quite simply, a drop-ded s3xy woman, regardless of age.

As her character gains confidence with the hustle, her character just gets more interesting. And more attractive.

There's a plot involving an accountant but who cares. Those are details.

'The Damned Don't Cry' is an obvious attempt to capitalize on Joan Crawford's success with 'Mildred Pierce' (also made with Warner Bros.) Both films are melodrama tinged with noir, although I would certainly hesitate to classify 'Damned...' as a noir. It has a few of the noir trademarks, but is not executed particularly well enough to be considered as a true film noir.

Like 'Mildred Pierce' it begins with a murder, and is then told via Joan's (her character's name - don't laugh - is Ethel)flashback. We're then treated to some vintage down home Joan, again like her character in 'Mildred Pierce' she is a struggling mother trying to please her child. Instead of tryng to buy a dress for Veda, in 'The Damned Don't Cry' she is trying to purchase a bike for her pathetic son.

The morality of the 50s is in full effect here, again like 'Mildred Pierce'. In the latter film, when the woman leaves the family home and has desires for a professional life, chaos and misery begins. The same is true for 'The Damned...'. Ethel wants a life better than her near-poverty existence, having to leave her husband and child. Therefore, she must be punished in the eyes of the narrative. Ethel then gets mixed up in some gangster situations. There's one amusing scene where in a restaurant her date (a poor accountant) orders 'a chicken salad and a coffee' and Joan nearly has a seizure. The mise en scene changes when Ethel is involved with the criminal activities: a gothic mansion is used and the lighting begins to contrast between light and dark. But, again, not really enough to make a convincing case for this being a noir.

Joan gives a good performance as Ethel/Lorna. Certainly not one of her best, but she is particularly good in the final scenes. If you enjoyed 'Mildred Pierce' or 'Flamingo Road', this is one to watch.