A Máscara do Desejo

Lizabeth Scott has "A Stolen Face" and also has the face that was stolen in this 1952 film also starring Paul Henreid and directed by Terence Fisher. Scott plays a beautiful concert pianist, Alice Brent, who meets Dr. Philip Ritter (Henreid), a plastic surgeon, while he's on vacation. They fall in love, but she leaves suddenly. She's involved with her manager and rather than confront the situation, she just takes off.

Devastated, Ritter returns to his practice, part of which is done at a prison where he reconstructs patients' injured or deformed faces to help them rehabilitate and live better, crime-free lives. One such patient is Lily Conover (Mary Mackenzie), a thief whose face is disfigured on one side. Ritter makes her over to look like Alice Brent and marries her. Lily, however, can't quite rehabilitate. She feels stifled by the doctor's lifestyle and starts stealing and hanging with her old crowd. Then Alice Brent decides she can't marry her manager and pays Philip a visit.

This film could be considered a camp classic - the story is, but the performances are quite good. Until he returns from vacation, Dr. Ritter is a fine doctor, totally professional and generous. A bad love affair makes him into an obsessed whacko who makes over a thief into the woman he loves and marries her. Go figure. And I agree with one of the comments here - why Alice Brent didn't cut and run when she realized what he did defies imagination.

Scott is older here than in her big noir days but is radiant and beautiful in both roles. She's more animated than in other films and pulls off the Cockney nicely. The only strange thing there was that when the makeover was complete, Lily suddenly had Alice's very distinctive husky voice.

Henried gives a good performance in an impossible role. How do you play a warm, normal, hardworking man who does a complete turnaround with no indication in the script as to where it came from, no tendencies beforehand, no grasping obsession during the affair - and suddenly a patient goes under the knife and emerges Lizabeth Scott. Only in Hollywood. I wouldn't have it any other way.

Hollywood star Paul Henreid came to Britain to play a plastic surgeon who finds out the hard way that beauty is only skin deep in this very poor man's 'Vertigo' after operating on shrewish kleptomaniac Mary Mackenzie in what is possibly the most eccentric film ever made by Hammer Films in their Exclusive days which offers the truly surreal sight of Lizabeth Scott incongruously blessed with the ability to play the piano yet dubbed with the voice of guttersnipe; an experience that is probably one of the most surreal Hammer ever provided with Malcolm Arnold's romantic piano score adding to the impression.

Paul Henreid stars as a celebrated plastic surgeon, who meets concert pianist Lizabeth Scott on a brief holiday. He quickly falls for her, but she disappears before telling him she's engaged to a man who has helped her in her career. A confused, sullen Henreid returns to his practice, which includes his charitable work with female inmates. Henreid believes if he can change their looks, he can change their lives. When he learns that Scott is going to be married, he decides to 'recreate' her on badly scarred thief Lily (Mary Mackenzie).

Then, to give her a better environment, he decides to marry Lily much to the disapproval of his friends. It isn't long before Lily reverts to old pals and old ways--stealing jewelry and furs, but Henreid makes excuses to the shops and pays her bills. One day, Scott shows up. She decided not to marry and she sees a picture of 'herself' (Lily) on his desk. You would think this would elicit a 'that's really creepy' response, but it's brushed aside a little too easily. Lily finds out that she's just a Scott knock-off, and makes it clear that now she's going to do as she pleases, Henreid can't stop her and her life gets wilder. How will this all work out? Watch and find out.

Scott is the standout of the cast, playing both demure musician and party girl with equal skill. I first thought she was even changing her throaty whispers to become Lily (who gets more Cockney as her behavior spirals downward) but Mary Mackenzie voiced Lily throughout (there is a similarity). There are shades of Vertigo in the plot, and the score by the London Philharmonic is quite good, Odd choice for Heinreid in the cast, since he played a double part in "The Scar" just four years earlier.

Stolen Face is directed by Terence Fisher and adapted to screenplay by Martin Berkeley and Richard H. Landau from a story by Alexander Paal and Steven Vas. It stars Paul Henreid, Lizabeth Scott and André Morell. Music is by Malcolm Arnold and cinematography by Walter J. Harvey.

After meeting and falling in love with pianist Alice Brent (Scott), plastic surgeon Dr. Philip Ritter (Henreid) is crushed when she leaves him and reveals she's engaged to another man. Upon being introduced to facially disfigured female convict Lily Conover (Mary Mackenzie), Ritter decides to reconstruct her face to look exactly like Alice...

One of Hammer Film Productions ventures into B grade noir territory, Stolen Face is deliciously bonkers! Set up takes thirty minutes as couple meet in the lovely surroundings of an English country inn, they have whirlwind love and all is lovely and jaunty. Woman runs off to her other life, doctor doesn't think straight and obviously gets more than he bargained for when giving a Pygmalion make over to someone who he himself calls "an ugly social misfit". Original woman comes back into the picture, just as the good doctor's life is in turmoil, and we hurtle to a finale that is going to end bad for one of the three principals.

Ultimately, and if anyone is taking it seriously then they may need some sort of corrective surgery themselves, it's a fun cheapie that lacks the social nous of Behind the Mask (1941), or the psychological smarts of Vertigo (1958). It's driven by its gimmick and nothing else, Henreid and Scott play it right, the latter an American noir darling having fun in the dual role, while it serves as a learning curve for Fisher who would become one of Hammer's greatest horror directors some years later.

Not very noir in reality, certainly visually, and not very memorable all told. But still a decent enough time waster for those who enjoy those sort of mad premise movies that had a glint in their eye. 6/10

In 1950, American producer Robert Lippert formed a business alliance with Hammer studios. Under the agreement, Lippert would provide American acting talent - frequently shop-worn stars or just supporting actors who fancied a profitable trip out of the country - while Hammer would supply the rest of the cast and the production facilities. Together they would split the profits. Famous for his concern with the bottom line, Lippert produced over 140 films between 1946 and 1955, characteristically genre pieces such as I Shot Jesse James or Rocketship XM. For the British deal, most of the films were noir-ish thrillers - and include this title.

Stolen Face (1952) offers the characteristic noir idea of loss, or confusion, of identity often through surgery, as seen in the plots of such titles as Dark Passage (1947), or Hollow Triumph (1958). In the present film, which has echoes of both Pygmalion and Vertigo, a plastic surgeon falls in love with a concert pianist during a vacation, thinks he has lost her to another man, and sets to copy her features when restoring the looks of another woman - incidentally a habitual criminal - whom he thereupon marries. If this sounds far fetched, then it is, but is carried of well enough by the two leads Paul Henreid and Lizabeth Scott, who between them produce sympathetic moments enough during early scenes that almost makes one forget limitations elsewhere. Another standout element of this film is the musical score by the late Malcom Arnold. There is also an interestingly ambiguous ending.