O Mistério da Pérola Negra

A brilliant story with a fast and pregnant dialogue all along, presents the fascinating case of a double-faced woman, the other face of which is well hidden behind a mask of superb charm and beauty - it's impossible to believe anything else but the best of her; but a nosy insurance investigator, not at all sympathetic but rather callous and rude in his constant meddling into the business of a happily and recently married couple, finds out more and more unpleasant things no one really wants to know, not even himself. Alas, it all leads to more unpleasantness.

Margaret Lockwood is as usual quite reliable and convincing in not a too glamorous part, Ian Hunter makes the perfect husband and reacts as anyone would in such an awkward situation, intrepidly handling the crisis with an admirable effort at controlling himself, while Barry K. Barnes carries through the difficult task of making a graceless character acceptable for his uneasy plight. Anne Crawford is a delightful surprise as another beauty, who after all remains when all the lights are gone. This is not clearly expressed in the film, but it should not be forgotten.

To this comes the interesting detail of the black pearl, which somehow symbolizes the whole story. She wants to get rid of it but refuses to sell it for a fortune, when asked for it she denies she still has it, and then it returns to bring about her doom. It should be noted that the author also was guilty of "Laura".

It's not a great or ambitious film but well above the average of so many other similar secondary melodramas.

A fine thriller based on a Vera "Laura" Caspary's book ,Lance Comfort ,like in "daughter of darkness " draws the portrait of a disturbing woman ,masterfully played by Margaret Lockwood.Butter would not melt in her mouth ,but little by little clues are given to the viewer who understands she might be a female Blue Beard .

Like Du Maurier's "Rebecca ", the story begins in the south of France: and it's to the screenwriter's credit to have used many lines in perfect French at a time when they did not care for the languages ;funny how the receptionist in the hotel tells a guest that there's no vacancy in French with an English accent!

A well-crafted thriller , with good performances ,and good scenes (the Christmas fete ,notably) ,some of which verge on comedy (those with the nurse).

This is quite a well-written, pacy little film noir about a glamorous widow (Margaret Lockwood) who meets and marries a rather naive English businessman (Ian Hunter) and honeymoons in Monte Carlo. There, they befriend a painter (Barry K. Barnes) who is asked to paint her portrait. After they return home, we gradually discover that she has plenty of dark secrets which all start to unravel as we find the painter is not exactly whom he claims to be, and it all culminates in a tense and suspenseful twenty minutes at their remote country home during a snowstorm. It's a little melodramatic at times, but the story flows well and the lead performances are engaging.

I first saw this film late at night in 1965. Very well done and both Lockwood and Anne Crawford (a sadly overlooked actress) are in their prime. After viewing this film, I came across the book written by Vera Caspary and was surprised to find that in the book the story was set in Connecticut during the Christmas tide of 1913; rather than England in 1946. At that time, many films had a late Victorian/early Edwardian setting and it was of interest to me that the period was updated to modern (1946) days. One key point of the period setting was the fact that after a snowstorm the characters were isolated and news was slower to reach people in 1913. One wonders what this film would have been like had the period setting been left intact.

On a trivia note, this film was one of the few independent productions made at Ealing Studios without the "Ealing Team" being involved.

'Bedelia' is directed confidently by Lance Comfort whose unsubtle and brisk style of direction kept him busy on the B-movie circuit and inevitably into TV work during the 1950s.

Interestingly; the story was written by Vera Caspary who specialized in stories about women getting into trouble, including 'Laura', later made famous, of course, by Hitchcock.

Not every film made in the 1940s was a 'Noir'. I see this term being used to describe films that were made in black and white rather than what they actually are... and Bedelia is NOT in my view in any shape or form a 'noir' as I understand one to be. There are certainly no hard-boiled cynical characters, bleak sleazy settings or overly-emphasized shadowy lit scenes here.

Bedelia is a well-crafted suspense movie with memorable characters and performances. Margaret Lockwood is a treat to watch as her pathological insanity slowly reveals itself. The plot is simple yet captivating and (despite everything being laid out rather too obviously) the uptempo direction works well to keep the spectator focused.

Thankfully the drama comes across naturally and doesn't descend into melodrama... which is just as well as there is no comic relief at all in this yarn. Ian Hunter is especially convincing as the poor husband who has the job of dealing with all the women in his life.

There's a good copy of this on YouTube so what are you waiting for? Get that mug of Horlicks, draw the curtains kick off your shoes!