Uma rica herdeira de Nova York viaja para o México e se apaixona por um arquiteto, com o qual se casa imediatamente, mas surpresas desagradáveis a aguardam quando ela vai viver na mansão que... Ler tudoUma rica herdeira de Nova York viaja para o México e se apaixona por um arquiteto, com o qual se casa imediatamente, mas surpresas desagradáveis a aguardam quando ela vai viver na mansão que ele projetou e construiu na costa Leste.Uma rica herdeira de Nova York viaja para o México e se apaixona por um arquiteto, com o qual se casa imediatamente, mas surpresas desagradáveis a aguardam quando ela vai viver na mansão que ele projetou e construiu na costa Leste.
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Avaliações em destaque
After a whirlwind romance, Celia Barrett (Bennett) marries Mark Lamphere (Redgrave) but finds once the honeymoon is over his behaviour becomes quite odd...
A troubled production and troubling reactions to it by the critics and Lang himself! Secret Beyond the Door is very much in the divisive half of Lang's filmic output. Taking its lead from classic era Hollywood's keen interest with all things Freudian, and doffing its cap towards a number of "women in peril at home" films of the 1940s, it's a picture that's hardly original. Yet in spite of some weaknesses in the screenplay that revolve around the psychological troubles of Mark Lamphere, this is still a fascinating and suspenseful picture.
I married a stranger.
Draped in Gothic overtones and astonishingly beautiful into the bargain, it's unmistakably a Lang film. His ire towards the cast and studio, where he was usurped in the cutting room and with choice of cinematographer, led Lang to be very dismissive towards the piece. However, it contains all that's good about the great director. Scenes such as the opening involving a paper boat on ripples of water, or a sequence that sees Mark dream he is in a courtroom full of faceless jurors, these are indelible images. Then there's the lighting techniques used around the moody Lamphere mansion that are simply stunning, with Cortez (The Night of the Hunter) photographing with atmospheric clarity.
Blades Creek, Levender Falls.
Elsewhere the characterisations are intriguing. Mark is troubled by something and we learn it's about women in his life, while his "hobby" of reconstructing famous murder scenes in the rooms of the mansion, is macabre and really puts a kinky distortion in the narrative. Celia marries in haste but is surprisingly strong, her character arc given heft by the fact we think she may well be prepared to die for love. Then there's the house secretary, Miss Robey (O'Neil), a shifty woman with a headscarf covering an unsightly scar on one side of her face, and Mark's young son David (Mark Dennis) who is cold and detached and has some disturbing theories on his father's means and motivations.
Lilacs and locked doors.
Cast performances are not all top grade, and even though Redgrave doesn't push himself to required darker territories, the performances are involving and worthy of the viewer's undivided attention. Rózsa's musical score is a cracker, deftly switching from the romantic swirls that accompany Mark and Celia during their love courting, to being a stalking menace around the Lamphere house and misty grounds when danger and psychological distortion is near by. Technically it's a remarkable movie, where even allowing for some daftness involving the psychobabble, it's a picture that Lang fans can easily love. There are those who detest it, very much so, but if it does hit your spot it will get inside you and stay there for some time afterwards. 8/10
The story concerns a beautiful woman, Celia (Joan Bennett) who falls madly in love with a mysterious and moody man, Mark Lamphere (Michael Redgrave) whom she meets while on a trip. She goes to live with him at the family home, which is run by his sister (Anne Revere). It's there she discovers a few things. One is that Mark was married before, is a widower, and has a son (Mark Dennis). Mark also has a secretary (Barbara O'Neil) who covers one side of her face with a scarf to cover a scar from a fire. Mark, she finds, also has a wing where he houses a collection of rooms in which famous murders have taken place. There is one room, however, which is always kept locked. Celia wants to know what's beyond that door, and what makes her husband so moody.
"Beyond the Door" takes inspiration from two other Hitchcock films, Spellbound and Notorious, and taps into the postwar interest in psychology. There is a voice-over narration from the troubled Celia, who recounts her dreams. The film is very atmospheric, the music grand and suspenseful and, though one may be able to guess how it ends, the story is very intriguing. The ending, due to some narrative gaps, is somewhat disappointing.
This isn't Lang's best film but one can certainly see the master's touch in the gloom, the fixation on the door, and the cinematography. Joan Bennett (whom I saw in person and was unbelievably tiny) shines as she usually did under Lang's direction. She could play both sophisticated and glamorous as well as trashy and sweet-smart. Here, in a funny way, she combines both - the character is a bit of a classy femme fatale. Redgrave is properly passionate one minute and distant and a little weird the next. I would have loved to have seen someone like Dirk Bogarde tackle this role a few years later.
Derivative but very good.
Fritz Lang's bleak cinematography and haunting use of music help to create the atmosphere that a story of this nature needs in order to work effectively. The focus on the door helps to create the tension as to what the secret is throughout the movie, and Fritz Lang seems keen to capitalise on that as we see Joan Bennett's narration change from how she feels personally to driving herself crazy as she tries to decipher what's behind the door. The characters in the story are interesting, and they need to be as this film is mostly character based. We follow Celia Lamphere, and we are given her thoughts by way of the aforementioned narration. Narration is often found in scripts that have been written by people that don't know how to write good scripts. However, in this case it actually helps the film to move along. In order for the story to work, we need to know what the character is feeling, so in this case narration is helpful to the story.
As I've mentioned, the ending isn't all that good, but the suspense builds nicely and there's much to like about this film. If you're new to Fritz Lang, though, I certainly recommend the classics 'M' and 'Metropolis' before this, and also from his American films; 'Fury', 'Scarlet Street', 'Beyond a Reasonable Doubt' and 'While the City Sleeps' get my thumbs up.
I watched this on the back of positive reviews from a couple of people on this site; perhaps I should have read further though because I didn't find the wonderfully intelligent noir that they claimed to have seen. Perhaps these commentators have not seen the film Rebecca which sort of covers similar themes but does it much, much better than this film does, but for me I found it hard to care about this. Visually I liked it and credit to Lang because his direction and work with his cinematographer does produce some really well set up scenes that do have great atmosphere. However this is not repeated in the material which is not as intelligent as it would like to think itself. Indeed it is terribly overwrought and melodramatic and offers little to counter it.
As a result the cast have to thanklessly play it up the best they can. I thought than Bennett did as good a job as she could have hoped to have done. She isn't brilliant though but she plays detective well. More important but not much cop is Redgrave; OK the blame lies more on the material than in his performance but given how little was conveyed by words at times, his performance was important but not up to the task.
Overall then, a fairly overdone melodrama that doesn't really convince in how it uses psychoanalysis to inform and direct its narrative. It may look great but the substance just isn't there from the start right down to the insultingly simplistic final scene.
Dazzling Hitch/style suspense movie about a beautiful woman marries a rare man with a shock revelation around every corner their mansion . It packs hallucination , treason , Bennett plays a rich wife trying to help her hubby , well played by Michael Redgrave , who is suffering from amnesia and who might be a murderer too . The picture takes elements from classic Hitchcock films , carrying out a crossover among ¨Suspicion ¨, ¨Spellbound¨ and ¨Rebeca¨ . In fact ,Fritz Lang's attempt to do his version of Rebeca (1940) was a project fraught with disaster. It ran over budget and over schedule, while Lang was at constant loggerheads with his leading lady, Joan Bennett . As it stars the great Joan Bennett , being compellingly directed by Lang ; but it is not as outstanding as their former movies together : ¨Man hunt¨, ¨The woman in the window¨ and ¨Scarlet street¨. Support cast is pretty good such as Anne Revere as Caroline Lamphere , Barbara O'Neil as Miss Robey and Paul Cavanagh as Rick Barrett .
Atmospheric as well as mistly cinematography in black and white by Stanley Cortez . Thrilling and frightening musical score by the classic Miklos Rozsa . The motion picture was professionally directed by Fritz Lang . Lang directed masterfully all kind of genres as Noir cinema as ¨Big heat , Scarlet Street and Beyond a reasonable doubt¨ , Epic as ¨Nibelungs¨, suspense as ¨Secret beyond the door, Clash by night¨ , Western as ¨Rancho Notorious and Return of Frank James ¨ and of course Adventure as ¨Moonfleet¨ .
Você sabia?
- CuriosidadesThe grove of trees through which Celia (Joan Bennett) runs when she flees the house is the same grove through which the Wolf Man ran in O Lobisomem (1941), also made by Universal. In particular, the tree, against which she leans, is the same one under which the Wolf Man was beaten.
- Erros de gravaçãoWhen Celia takes an impression of the key in wax, she only takes the impression on one side, which would render the key made from that impression useless without the reverse side.
- Citações
Mark Lamphere: You were living that fight. You soaked it all in - love, hate, the passion. You've been starved for feelings - any real feelings. I thought: 20th Century Sleeping Beauty. Wealthy American girl who has lived her life wrapped in cotton wool but she wants to wake up. Maybe she can.
Celia Barrett: Is it as hard as all that?
Mark Lamphere: Most people are asleep.
- ConexõesFeatured in Vampira: Secret Beyond the Door... 1947 (1956)
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- How long is Secret Beyond the Door...?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
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- Também conhecido como
- O Segredo da Porta Cerrada
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Bilheteria
- Orçamento
- US$ 1.500.000 (estimativa)
- Tempo de duração
- 1 h 39 min(99 min)
- Cor
- Proporção
- 1.33 : 1