Dama Fantasma

This isn't the best film noir but in a way it's quintessential in this way: I saw this years ago, and I have such a hazy memory that it's almost like I didn't see it... I think (?) It's the kind of movie I used to throw on really late at night like at 2 AM and I might watch all of it or some of it and then the rest the next day, and it has the kind of film noir plot and execution that it blends into many other film noirs. I don't mean to say that as a put down or to its detriment, but this fits so well into how this mood and feel work involving murder and a woman-who-wasn't-there (or seemingly never was) and a mystery to find the missing woman and all of the twists and turns therein.

It might be because it doesn't have the top shelf cast of some of the other movies of the period - there's no Barbara Stanwyck or Robert Mitchum or Edward G Robinson or Burt Lancaster or Glenn Ford or the list goes on - and yet I don't remember anyone here being so bad or off-putting that I had to turn it off or felt like I didn't get my VHS rental's worth. Siodmak's a quality director, and this is clearly the forerunner to what he would perfect with The Killers and Criss Cross. I'm sure I should see it again so I can solidify my opinion of it, but in a way I think it's fitting that it's half-forgotten - it's almost like the way that the characters find themselves in this story, a mystery to track down something buried away and not wanting to be found.

Or something.

This is a strange little movie.......a film noir with some good performances and some not so good. You often see this film on lists of noir classics but it raises the inevitable question....is it a classic or does it have just too many faults to raise it to the level of winners like "DOA", "The Big Sleep" or "Night and the City".

The premise is fairly good. A man can't prove his whereabouts when his wife is murdered and can only describe his alibi as an unknown woman wearing a rather distinctive hat The story follows the hero's secretary and a sympathetic policeman as they try to prove his innocence. Alan Curtis is a disaster as a gloomy, rather unlikeable man who pretty much gives up trying to find the real killer and becomes resigned to his fate. He doesn't put up much of a fight and his attitude doesn't help much. The lovely Ella Raines portrays the secretary who gets herself into some uncomfortable situations, especially with Elisha Cooke Jr as the drummer man with the plan. Plenty has been said about the drumming scene which somehow sneaked by the censors. It has to be seen to be believed.......whew!!

Franchot Tone plays the hero's best friend and I am still trying to figure out if his playing of that part was really good or really bad. The answer is probably "really bad". The role is against type for him and he overdoes it. He does have a great apartment though!

Fay Helm, playing the woman with the hat, is strangely attractive and is just right for the "phantom lady". Thomas Gomez, as the friendly cop, does his usual good job. So is this film worth watching?......yes. It has some plot holes but overall it is enjoyable. Give it a try.

Phantom Lady is quintessential Film Noir and a must-see for anyone who appreciates the genre. The film is not, nor does it aspire to be, a whodunit with an airtight plot, or a mystery-thriller that ends with an inconceivable twist as in the original novel. If that is what you want or expect, this is probably not your cup of tea. Although many great films considered part of the noir genre may include some of these elements, that's not what film noir is all about.

Film Noir is almost synonymous with Cornell Woolrich (William Irish), the author of the novel Phantom Lady. His novels and short stories are the source of an amazing number of screenplays and teleplays, including several noir and non-noir classics such as Hitchcock's Rear Window.

As a writer and persona, Woolrich was a uniquely noirish sort of guy. In fact, he wrote a series of six "Black" novels, all have been adapted to the screen or TV at least once, and some multiple times. Obviously, noir means black, and these black novels inspire great noir films.

Many Woolrich stories, Phantom Lady is one, revolve around impossible crimes. As sinister forces close in, his protagonists are powerless do anything but follow some diabolical labyrinth that defies understanding. No wonder his work is a perfect fit for film noir, which takes place in its own dark universe, where characters struggle against powerful and malevolent forces. Unfortunately, the nightmare scenarios created by Woolrich, enhanced by his own inimitable style of description, often seem to get lost in translation when brought to the silver screen. Although most of the films are very good, these adaptations tend to be very different from their literary source.

Not so with Phantom Lady – up to a point. Although details may vary, director Robert Siodmak cleverly and adroitly uses dazzling Expressionist visuals and quirky character performances to emulate the dreamlike quality of a Woolrich story. A good example is the incredible scene where Elisha Cook Jr. drums up the sexual overtones for Ella Raines.

Since our psychotic mastermind is revealed early on, there is no who-done-it mystery to distract the audience. The revelation allows a brilliant means of reworking the story into a tight and infinitely more interesting screenplay. Woolrich's original story follows a different approach, not confirming the killer until the end. Obviously, some treatments work better as a novel than a movie.

Often over-shadowed in the movies which he appears, this time Franchot Tone fits so perfectly into the role of Jack Marlow that we are captivated by his machinations, wondering where it will all end. All of the other characters are great and true to form as well. Raines is exceptionally strong in her portrayal of the somewhat naive love-struck secretary who won't give up.

True to a Woolrich novel, the genius of the film is in the telling of the story; more important than structure or even the ending. Although the outcome is the same, the ending is much different in the novel. Also, after the killer is revealed in the original story, there are 16 long pages, explaining every detail of every plot twist. Unfortunately, this approach is anticlimactic, and would never work as a film. Nevertheless, Siodmak is able to present a more convincing story with almost no explanation.

Any screen adaptation of a Woolrich story is always in jeopardy of being swallowed up by massive plot holes. After all, part of the charm of a Cornell Woolrich story is that you never really know if you dealing with reality, or trapped in a drug and alcohol induced nightmare.

In Phantom Lady, a character reveals, "… I'd been blazing a reefer already before it happened, and you know what that does to you." Woolrich certainly did know, and much of his literature is obviously inspired by mind-bending experiences. If a screenwriter and director can artfully breach the massive plot chasms of an original Woolrich story, yet still preserve the beauty as in Phantom Lady, the film becomes a feast for any Film Noir fanatic.

So how did the producers get that orgasmic release scene past the censors. Sure, Carol (Raines) and Cliff (Cook) are about ten feet apart as he pounds on the drums while she sways back and forth in total sync, their faces contorted in frenzied delight. There's no guesswork here. It's as close to the real thing as the decade gets, and a masterpiece of simulated ecstasy. I wonder what the set was like while filming this.

The movie's a tight little thriller, helmed by noir master Robert Siodmak. So who is it that's framing architect Henderson (Curtis) for his wife's murder. By golly, the lovelorn Carol is going to find out even if it leads her down every dark, scary street on the studio lot. And once she dons her cheap hep-cat outfit, that's just where she's headed. But it's that frenzied jazz scene with Cliff that steals the show. Everything after seems something of an anti-climax. However, be sure to catch that beautifully modulated scene where Carol plies the emotionally disturbed Ann (Helm) for access to the incriminating ladies' hat. It's poignantly done, especially by actress Helm.

No doubt, this is one of the noir highpoints of the period, with dark symbolism and atmospheric shadows aplenty. Also, Raines gives a winning performance as the unstoppable Carol, while Tone wisely refuses to go over the top as the psychopath. On the other hand, it's a good thing we don't see much of Curtis in both a badly written and dimly performed part. I'm guessing Siodmak cared little how that particularly conventional role came across. Anyway, for fans of 40's noir, this Universal programmer remains a must-see.

I'll admit that I like a certain degree of plausibility in films. Thus, it was hard for me to totally embrace this movie after watching the scene in which the husband (Alan Curtis) comes home to his darkened apartment and calls out for his wife, wondering where she is,unaware that detectives were there waiting for him. It was obvious that Curtis expected the wife to be home, not to mention alive, yet the detectives never took this into consideration. If you strangled your spouse, would you return home later and call out for her? Besides, who could have tipped off the detectives that a murder had occurred? OK, if you get by these sore spots, you'll find a well-made film noir that is worth watching.