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A fine mist of the gothic lingers over The Lost Moment, as it would do in the following year's A Portrait of Jennie – a mist that blurs the boundaries between past and present, between the quick and the dead. As it happens, Leonardo Bercovici adapted the screenplays for both movies, for The Lost Moment drawing (rather distantly) from Henry James' The Aspern Papers. And as in A Portrait of Jennie, his script made a haunting plunge into nineteenth-century romanticism, a rhapsody on obsession and loss.

The Lost Moment takes place (as all nineteenth-century rhapsodies should) in Venice, voluptuous and miasmatic. Arriving there incognito is a young New Yorker engaged in the literary trade (Robert Cummings), on the trail of love letters written by a poet who, after mysteriously disappearing decades before, has become a legend. Cummings knows that publishing the letters will make his name and his fortune, but he must be cagey about his purposes. The poet's mistress Juliana (Agnes Moorehead), is now a recluse of 105 living in reduced circumstances. Posing as a writer of means wanting to finish his novel, Cummings arranges to take rooms in her gloomy old palazzo.

Manderley was more inviting. The Mrs. Danvers of the piece proves to be Susan Hayward, the recluse's niece, grand-niece or even more distant kin. Draped in black with hair wrenched back into a bun, she dutifully carries out her aunt's wishes but makes it plain that Cummings' welcome will be chilly. The trappings are old-dark-house as well, with a servant girl who wanders the halls at night when she's not howling and whimpering, presumably from beatings by Hayward. Eventually Cummings meets the enfeebled Moorehead, whose dotage has not dimmed her mind or dulled her relish for the crafty games she plays; only she can lead him to the letters and shed light on the fate of their author. Events even stranger take place: At night, lured by ghostly piano music, Cummings finds Hayward, radiant in white, her tresses loosed, convinced that she is Juliana and he her poet-lover; as he phrases it, she's `walking dead among the living and living among the dead.' The claustrophobic menage-a-trois takes yet another Jamesian turning....

The Lost Moment is the sole directorial effort by Martin Gabel, a character actor who was married to Arlene Francis. Due either to his inexperience or holes in the script, some strands of the story lead nowhere, like that of the servant girl. Another concerns John Archer, whose aid Cummings enlists though he neither likes nor trusts him; his motives remain murky, and ultimately his sub-plot just fizzles out. Cummings proves another drawback. Always a weak actor, he sometimes (Kings Row, The Chase) rose to serviceable, and does here. Moorehead, buried under old-crone makeup and furlongs of black lace, is barely recognizable by visage or even by voice. Hayward's the surprise, negotiating the shifts from stern spinster to distraught damsel with grace and conviction.

Yet Gabel brings it off. Slow and resolutely low-key until it nears its finish, The Lost Moment stays compelling throughout, a literal-minded version of James' story that manages to maintain an languorous integrity all its own.

The Lost Moment (1947)

A highly romanticized version of the dark and complex story by Henry James called the Aspern Papers. It's glorious in many ways, ultra moody and mysterious. It lacks some of the delirious gloss and superb acting of, say, "Rebecca" though the similarities are clear.

The leading actor, an American in Venice, is maybe the weakest link, because he comes off as more of a naive innocent than a slightly lost and duplicitous conniver, one who gets seduced by his own mission (a common James theme). But Robert Cummings has the advantage of letting the story and the scenes dominate. The leading woman, playing a complex role, is Susan Hayward, a better actor though the main side of her role is to be steely and lifeless, which she does very well. Agnes Moorehead plays the old woman, and you won't recognize her, she's so heavily made up.

It's 1947 and still the studio era, so the entire film was shot in Hollywood, but the sets are fabulous, and the photography and lighting makes the most of it. It's beautiful, above all.

But what about the story? A great and somewhat fantastic love story. Or is it so fantastic? It seems some of the time that there is something magical happening, a crossing of time zones. But our protagonist discovers the truth, and falls in love, and the problem gradually changes. The original goal, of discovering some key lover letters from fifty years earlier, seems secondary, though it rears its head (suddenly) at the climax.

Some people might find this film "old fashioned" or a little false, somehow, with the actors playing types rather than real people. I mean, they are convincing, and compelling for sure, but they only have the qualities needed for the plot. But other people will be able to buy into all this as style, which it is, and let it take over. It's a curious and beautiful enterprise, whatever its flaws.

No need to detail the plot since others have done it better than I can.

Once again I'm reminded that Susan Hayward was one of Hollywood's finest actresses despite her glamorous good looks. Here she does triple duty while under the spell of an ossified aunt (an unrecognizable Moorehead) and, of course, a darkly haunted mansion. One minute she's severely repressed Tina; the next she's a deluded but happy Tina; and finally she's a liberated Tina, who's happily her true self. The versatile actress manages all three persuasively, though repressed Tina in her severe hair bun almost had me under the couch.

If Tina's having trouble with her identity, so's Venable (Cummings) who's at the mansion under false pretenses. But once he's scoped out a flowing-haired Tina, he's having trouble deciding whether he's really a sneaky publisher on a lucrative mission or just another hormonally driven ankle-chaser. Sunny actor Cummings may seem an odd choice for roaming dark mansions, still he low-keys throughout, allowing the story's Gothic merits to remain uppermost.

And what great atmosphere the staging produces. Sure, events never leave the soundstage, yet that move allows full artistic control of visual effects, which are as much a movie presence here as the performers themselves. And, oh yes, mustn't overlook poor Joan Loring as the repressed servant Amelia. Hers is a movingly soulful performance that at times is almost tearful. Too bad her character- track just sort of vanishes to no conclusion. And that's a downside in the script, as John Archer's rather villainous character is also abruptly abandoned for no apparent purpose. It may be that the screenplay tried to adapt too much of the Henry James novel and ended up cutting some corners

All in all, this is vintage Hollywood hitting on at least seven cylinders despite somewhat derivative material. And a lot of that success I think is owed to outstanding producer Walter Wanger, a position in the production chain that's too often overlooked.

'The Lost Moment' is worth watching - not too bad of a film. It's a romantic-drama (with a bit of a mystery and with a dash of thriller). I was hoping for a bit more with the ending I guess because I was left with a disappointed feeling at the end of the film.

Lewis Venable (Robert Cummings) is a publisher and he is after the love letters of an early-19th-century poet, Jeffrey Ashton, to his beloved Juliana Borderau (Agnes Moorehead). Lewis pretends to be a writer and rents a room from Juliana Borderau in hopes to gain the love letters. Juliana has a niece named Tina Bordereau (Susan Hayward). Tina has a split-personality: her real self, Tina, and that of her aunt Juliana. Tina thinks she is her aunt Juliana from time to time. Lewis finds himself in a mystery surround Juliana, Tina, and the love letters of Jeffrey Ashton.

I enjoyed the film - I was just disappointed with the ending because we never got a real explanation about Tina - an explanation for the split in her personality.

7/10

"The Lost Moment" is one of the strangest films of the 1940s I have seen. I am not saying it's bad--just very, very different. The film is based on a story by Henry James ("The Aspern Papers") although like MOST films they liberally change the story. One of the most obvious is the character played by Susan Hayward. In the original story, she's described as plain and unattractive--something you could never have said about Hayward. In this film, she is gorgeous and is paired with an odd choice for a leading man, Robert Cummings. Now I am not complaining or saying Cummings was a bad choice--just an odd one since he was a bit older and not the dashing leading man you'd normally expect in a movie.

The story was originally based on a notion that some love letters from Percy Shelley were hidden somewhere and literary folks were drooling to find them. Here in "The Lost Moment", they use a fictional name for a guy who was clearly modeled after Shelley. But, unlike Shelley, this poet was an American and he simply disappeared in his prime! The only possible clue to his disappearance is the same woman who was in love with this man--and who supposedly has these love letters. But, she's an ancient recluse and has thus far resisted talking about her old lover and has refused to allow people to read these letters....if they even still exist.

Cummings plays a newspaper writer and an opportunist. His plan is to somehow get into this home with the old lady (who is now 105--played by Agnes Moorehead under a ton of makeup). When he learns she is greatly in need of money, he offers to rent out one of her rooms. While they receive him VERY coolly, he is able to secure a room and soon notices just how oppressively dismal the place is. It's like a morgue and a strong brooding sense of doom is well conveyed in the film. I won't discuss the plot any more--it would ruin the suspense. However, to me the plot, though interesting, isn't as important as the mood--which is really excellently conveyed. An interesting film--as there just aren't many like it.