Ivy, a História de uma Mulher

I found this to be a very enjoyable melodrama.

The story is about how Joan Fontaine tries to rid herself of a husband and a lover in order to obtain a wealthy Englishman.

Solid performances by the supporting players are outstanding as is the lead performance of Joan Fontaine.

Also great were the costumes and the sets--very impressive and realistic, at least they looked that way to me.

I'm a sucker for these old black and white melodrama mysteries and I found this one to be one of the best ones.

Miss Fontaine's spectacular gowns were by Travis Banton, not Orry-Kelly, as your credits indicate. A previous commenter mentions that Ivy takes place in the 20s or 30's! This film is most DEFINITELY set in Victorian London, long before the roaring twenties. In any case, this is a dazzling and fascinating film to watch. Fontaine gives a multifaceted performance, and is much better than her sister would have been in the role. Olivia would have given it her usual first ladyish, sexless, to-the-manner-born touch. Joan, however, lets you know that her hold on these men is highly sexual, although no part of her body below her neck is exposed, other than her hands. Hats off to Una O'Connor in her bit as the seer. She is truly eerie and terrifying.

Ivy is directed by Sam Wood and adapted to screenplay by Charles Bennett from the novel The Story of Ivy written by Marie Belloc Lowndes. It stars Joan Fontaine, Patric Knowles, Herbert Marshall, Richard Ney, Cedric Hardwicke and Lucile Watson. Music is by Daniele Amfitheatrof and cinematography by Russell Metty.

Ivy Lexton (Fontaine) has a hunger to be wealthy, and setting her sights on well-to-do Miles Rushworth ( Marshall), Ivy plots a fiendish plan that spells trouble for her husband Jervis (Ney) and her lover Roger (Knowles).

Well worth discovering, Ivy showcases the dark side of Fontaine's acting prowess for great entertainment rewards. The beautiful Madame Fontaine actually disowned the movie, and this after she stepped in to the role of Ivy Lexton after her sister Olivia de Havilland turned it down. Her lack of affection for the picture goes some way to explaining why it has remained largely forgotten, which is a shame because it's a high end gaslight noir propelled by a femme fatale of some considerable substance.

The budget was high, and it shows, in the cast list, the costuming and the stunning turn of the century production design by William Cameron Menzies. Metty's low-key photography cloaks the Edwardian settings with atmospheric snugness, while Amfitheatrof underscores the drama with music that is appropriately tinged with chills. Thematically the piece is focusing on obsessions, by way of man's ignorant lust and woman's pursuit of wealth above all else. All characters are defined not by fate here, but by their actions, making for a hornet's nest of murder and adultery.

1947 was a stellar year for film noir, with big hitting movies like Out of the Past, Nightmare Alley, Kiss of Death, Odd Man Out and Brighton Rock further cementing the growing popularity of noir as a style of film making. As is often the case with the great noir years from the classic cycle, there's still little gems hidden away waiting to be brought out into the open, Ivy is one such film. Fontaine and the sumptuous noir visual style ensure this to be the case. 8/10

This is one atmospheric and visually dazzling film. The ornate sets capture the mood to perfection, even if they aren't completely accurate. Kudos to the art director. Whoever designed Joan Fontaine's wardrobe also helped the mood, even if they were not historically accurate. Also praiseworthy is the cinematography, which is in stark black-and-white and makes perfect use of light and shadow. Indeed, the film's look in some ways reminds me of the later work of Josef Von Sternberg, while some of the night scenes are like a refined version of German Expressionism. If they had been supported by a great story, this could have been a classic. What they did use was a passable romantic drama which was only mildly interesting. Here, Joan Fontaine plays a Victorian Femme Fatale whose dullard husband doesn't make enough money to keep up with her spendthrift ways. She also has a lover on the side, a doctor whose possessiveness threatens to expose their affair to her husband. She thinks she's found the lavish life she wants when she meets a wealthy bachelor at a sporting event. She convinces him to hire her unemployed husband in the London office and then designs to seduce him. However, he can't bring himself to have an affair with a married woman. What's an unhappily married gold digger to do? Well, she turns Femme Fatale and schemes to get her husband and lover both out of the way, lying and manipulating in the style made familiar by Barbara Stanwick in "Double Indemnity." Interestingly, Joan Fontaine plays her as a mild, seemingly harmless woman, a performance she repeated in "Born To Be Bad" a few years later. Problem is that there are many slow parts and the interest lags, thanks to the talky script. Also hurting is the noisy musical score, which distracts from the mood and suspense. However, it's worthwhile for fans of older movies. I usually enjoyed it.

Joan Fontaine is in the title role of Ivy, a completely amoral social climber who when we meet her is juggling three different guys, husband Richard Ney, former lover Patric Knowles who can't get her out of his system, and her next interest the very rich Herbert Marshall. This girl Ivy, she really gets around.

When Marshall tells her he's not having any sex with another man's wife Fontaine sees her duty clear. She not only concocts an elaborate poisoning scheme for Ney, but Knowles the dope is still so in love with her that as a doctor he's also a natural suspect. He goes to trial and shields her. Knowles doesn't know about Marshall.

Ivy is a wonderful and moody Edwardian melodrama where the tension is so thick you could cut it with a knife. The cinematography is A+ in this film.

A key role is the methodical Scotland Yard Inspector Cedric Hardwicke who never bought Knowles as the guilty party. Hardwicke is almost Monk like in pursuit of the truth and justice.

The last 10 minutes or so contain some of Joan Fontaine's best work on the big screen as she realized the jig is up. All by herself with little or no dialog what a portrait of a woman trapped by her own deceit.

Ivy should be seen for that ending and for Cedric Hardwicke.