Sombra de uma Mulher

Andrea King makes a mistake when she marries sinister alternative-medicine doctor Helmut Dantine. She realizes it pretty quickly, as we see in a story told from her point of view in flashback.

He seems like a truly loathsome person. It's hard, though, not to wonder if this movie was unwritten by the AMA. After all, not ALL people practicing alternative therapies, even back then are/were evil and/or quacks.

The most poignant part is the man's son, who is being held captive and being given a horrifyingly Spartan diet, ostensibly for his health.

That part will send chills up your spine. (If it knocks your spine out of quack, call a chiropractor.)

The beautiful and financially independent Brooke Gifford comes to regret her hasty marriage to quack "Doctor" Eric Ryder. Too late, she discovers their marriage is just a ruse to get custody of his son back and steal his inheritance. Why did she marry him in the first place? He's a divorced guy with a bizarre health food fixation (he's written a book called "Are You Eating Yourself Into the Grave?"). But it's the usual story. She was lonely; there weren't many marriageable men around during just-ended WWII. Slickly manipulative Eric, in the typical style of abusive men, swept her off her feet. Brooke's now older-and-wiser narration tells the story in the form of flashbacks.

This fascinating postwar film (over) dramatizes the way women were sucked back into domesticity after years of emotional and financial self-sufficiency during the war--and the pitfalls it held for them. Thank god Brooke still has some money and a house in San Bernardino--it gives her the means to fight back. It also enables her to have a terrific wardrobe--just because her husband's a potential murderer doesn't mean she can't look great. And you can be sure that cheapskate Eric wouldn't pop for all those trips to the hairdresser and manicurist, either.

Eric's health-food fixation is interesting, too. We think of healthy food as virtuous these days, but this film shows that in postwar America, too much of a concern with nutrition was considered quackery, if not worse (and in this case, it is worse). Eric, talks with a bogus European accent--"Have face in me, my dahling!" he tells Brooke. There's also a lot about women being "tired" in this film. Eric is always telling women they're "tired" so he can get them out of the way. How tired can these women actually be? They probably worked twelve hour shifts during the war and now they're supposed to be fragile?

The title, "Shadow of a Woman" is significant. The way women were driven from the public sphere into lives of forced domesticity after the war indeed led them to become shadows of their former selves.

Okay slice of psychodrama and woman-in-danger flick. Still the script remains a rather uneasy mix of several elements. There're shadowy elements of noir, just emerging in '46, but mostly it's whether wife Brooke (King) can undo husband Eric's (Dantine) evil schemes and still survive. Can't say the plot's too original since Brooke marries Eric on short notice, not realizing his dark past. He poses as a doctor with unconventional methods, but just how "unconventional" is he. King looks good in 40's outfits, still I wish she (or director Santley) could have worked up more emotion. That would have heightened tension as the story winds down. But then the showdown is not what is ordinarily expected in this type movie. There's a good twist concerning the characters that I didn't see coming. So there are some surprises. Too bad that culminating fist-fight is none too plausible given Carl's (Alvin) gimpy leg. But dig that all- night diner that Joe (Erdman) presides over. It can compete with any of noir's many iconic diners.

All in all, the flick's an okay time-passer, but doesn't really pack the tension that's waiting there in the concept.

Honeymooning after a whirlwind courtship, newlyweds Andrea King and Helmut Dantine cross the palm of a Gypsy fortune-teller with silver to have their futures read. The crone's face collapses like an ill-baked souffle when she gazes on Dantine's life-lines. `I haf nut'ing to tell you,' she stammers, then slithers off into the night.

Next day at the beach, a boulder the size of an asteroid rolls down a hill, almost squashing Dantine – the first of many such `accidents' which befall him. Her groom, King decides, has enemies. Back in San Francisco, King settles into his gloomy old Nob Hill mansion, inhabited too by his widowed sister and his crippled nephew, who welcome her coldly. Another surprise is a sickly young son by a previous marriage, of whom (and of which) King knew nothing.

Dantine, it turns out, is a quack doctor whose diet regiments cause his patients to drop like flies. His son, on the other hand, is heir to a fortune, and his regimen of nothing but orange juice begins to look to King like a plot to kill him....

Shadow of a Woman (meaningless title, by the way) is nothing more than a watchable programmer. Both principals were European-born, Dantine in Vienna (retaining a heavy accent), King in Paris (accent-free, though her English is wooden). The movie accepts and reproduces the conventions of the `jep' with few, if any, new twists: Dantine is a controlling husband who decides everything for his wife (a role he would reprise the next year in Whispering City), including how she feels – `You're tired;' `You're hysterical.' King, however, shows more spunk, and earlier on, than most of the swooning wives this kind of melodrama requires. If you can swallow its conventions, Shadow of a Woman is not a bad hour and a quarter – sort of a dress rehearsal for The House on Telegraph Hill five years later, a better movie that, especially in its setting, resembles it.

I caught this movie on Saturday Night Noir. I wasn't planning on watching it, but it came on after NIAGARA and I left the television on while I was cleaning and getting ready for bed. It sucked me in! I really liked the atmosphere of the movie and the spooky old house. I liked the characters. I especially liked Andrea King and the little boy.

During the commercials I looked up the movie and saw that it wasn't much of a success when it came out. I was surprised because I didn't think it was that bad. I watch a lot of old movies (seldom ever watch anything new to be honest.) and I am sort of a hyper person who constantly keeps busy. I often half watch movies while doing another task like working (I work from home online) cleaning, cooking etc. A movie has to be pretty good to get me to actually sit down. I sat down for this movie. Was it the best acting I have ever seen? No, but the main character was likable enough and the story good enough, that I didn't care. It wasn't Oscar worthy, but most of the movies I like aren't. I liked this movie very much. It kept my attention and kept me entertained to the end.