Mundos Opostos

Mervyn LeRoy does it again. Exquisite cast, superb production >and tight story line make this a must see. Several persons in >this saga want revenge, but you'll have to see how it shakes out >to see just who gets whom. Barbara Stanwyck and Van Heflin are >united on screen once again (The Strange Loves of Martha Ivers) >with an unbelieveable supporting cast. Gale Sondergaard, Ava >Gardner, Cyd Charisse and Nancy Davis make up the bevy of head- >liners and head-turners in a film about love, lust and morality. >See how James Mason figures in with a great ending where some- >one makes a point and leaves no doubt what it's all about.

Stanwyck and Heflin have a palpable chemistry here, and Ava Gardner is a most alluring vixen. Cyd Charisse is a delectable ingenue (and a tall drink of water), while Gale Sondergaard is hilarious as a hard-bitten, hoydenish Amazon floozie. Stanwyck is playing about 10 years younger than her actual age (her film mother admits to being 55, when Stanwyck is in her early forties here, and while still handsome, she does look her age).

Mervyn Leroy did a nice job of combining the noir/woman's-picture genres, though its ennoblement of Stanwyck robs her of her strengths as a no-nonsense woman, good or bad. Her scene with Gardner is a standout -- both actresses are well matched; Gardner's feline beauty and laissez-faire romantic approach nicely complements Stanwyck's humane fatalism -- and Stanwyck and Van Heflin are an appealing couple. Mason is rather a chump, however -- he seems to be underplaying to the point of lethargy, though his handsome charm surfaces here and there; yet he and Stanwyck, though matched in terms of age (she was younger by a couple of years) are not the type for each other; he doesn't suit her, screen-wise. Heflin's naturalism -- a performance of great charm and likability -- is more suited to Stanwyck's style and one longs for them to get together. Great use of sets to evoke New York, teeming with nightlife, and Leroy always had a knack for directing extras so that the city scenes seem peopled with real lives rather than populated with stand-ins. Costumes, though late 1940s, seem a bit recherche, as if the designer hadn't left the 1930s, with the women's gowns too ornate for such a sophisticated post-war milieu.

Not a great picture by any means, but a highly enjoyable one; a viewer wishes the director and screenwriter -- the talented Isobel Lennart, who later wrote "Two for the Seesaw," among many others -- had trusted more in the chemistry between Heflin and Stanwyck, and discarded some of the Marcia Davenport source material, juicy as it must have been. This is from Stanwyck's late-1940s string of women's flicks, which did not play to her strengths. But middling Stanwyck is usually better than anyone else's best. And the underrated Van Heflin is worth rooting for, too.

Extremely busy marital melodrama which (rather unsuccessfully) lapses into a homicide investigation! New York City socialite Barbara Stanwyck loves and trusts investment counselor husband James Mason--even though he has a penchant for disappearing after-hours and returning home at four in the morning. Turns out old flame Ava Gardner is back in town; she's a high-class man-chaser who won't take no for an answer. Screenwriter Isobel Lennart, working from the novel by Marcia Davenport, starts things off routinely, but keeps adding characters until the scenario is bubbling over like a stew-pot. Van Heflin does wonders with a shapeless role as a war correspondent/ex-detective who ends up in jilted Stanwyck's kitchen, flirting with her in Italian, while Gardner is offered some juicy repartee (when Mason calls her "cheap", Ava replies, "That's what you like about me."). A country square-dance is curiously transplanted to a Manhattan penthouse, and Beverly Michaels' supporting performance congeals into high camp; still, Barbara and Van have an immediate rapport--one that is not apparent in her scenes with Mason (who doesn't help his cause by portraying the cad-husband like a petulant boy). Stanwyck, outfitted and coiffed like a lady ten times her age, initially doesn't have much to do, but Lennart's script soon has her traveling all over the city--east side, west side, and beyond. It's a nervous, flighty picture, paced exhaustively by director Mervyn LeRoy, but overall quite watchable. **1/2 from ****

Check out that cast list... the first EIGHT names are all HUGE, or became huge eventually. They must have blown the budget on just the payroll. Even further (farther ?) down the list, there are biggies. Wm Frawley (FRED!) and Vito Scotti. Poor Barbara S... kept getting nominated for Oscars; should have won it for sure for a couple of those. Stanwyck had just made a run of GREAT films during the 1940s, so it's no wonder this one isn't as well known. In this one, Jessie (Stanwyck) confronts her husband's mistress Isabel (Ava Gardner). James Mason is the playboy husband Brandon Bourne, and tries to have his cake and sleep with it too. Some amazing, big time co-stars - Van Heflin, Nancy Davis Reagan, Cyd Charisse, Gale Sondergaard. Bad stuff happens, and then the cop (a young Williamm Conrad) tries to figure out who-dunnit... so many suspects and motives. Really great film... surprised we don't see this on TCM more often, but so many movies, only so much time, i guess. Directed by Mervyn Leroy, who had worked on some biggies during the 1930s and 1940s.

The main theme of this movie is one that has played out so many times in movies and books (and life): a man (James Mason) cheats on his wife (Barbara Stanwyck) with a woman (Ava Gardner) who gives him the thrills she cannot. The affair was over, but now she's back. He resists, but she points out that fireworks are not something to be taken lightly: "Maybe it wasn't love, maybe it was only chemistry, or the right combination, or a miracle. But most people drag through their whole lives without finding it. We both know that, don't we Bran?" And when he tells her he doesn't want to see her again, she purrs the sexy double entendre "I'll do exactly what you want Bran, exactly what you want."

Gardner is just brilliant, oozing raw desire and channeling Jean Harlow in "The Red-Headed Woman" when she later gets slapped by Mason. Instead of being hurt, she eggs him on, knowing his passion is rising, and knows "that's what you're missing at home", and "you want to be rotten like me." Stanwyck plays the virtuous wife with quiet grace, though I thought she was too reserved in a showdown scene with the outlandishly mean Gardner. It's always great to see her movies though, and she does play 'hurt' and 'conflicted' well.

There is a lot of star power here, with Cyd Charisse and Van Heflin also in the cast, and even an appearance from Nancy Davis, who of course would later be Nancy Reagan. As Stanwyck is betrayed by Mason, she turns to Heflin, and it's quite clear they're mutually attracted. Heflin is so smooth and likable, and there is dignity in his acknowledgment of his love for her without resorting to adultery, in direct contrast to Gardner and Mason. Mason and Stanwyck may have gotten top billing, but I think they were upstaged by Heflin and Gardner.

As the pressure ratchets up, both Mason and Stanwyck find themselves needing to make choices, though Mason's is disrupted by an event I won't spoil. There are some events that might be too convenient as it plays out, but there is reality and passion here, and I enjoyed this film.