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IMDbPro

A Confissão de Thelma

Título original: The File on Thelma Jordon
  • 1949
  • Approved
  • 1 h 40 min
AVALIAÇÃO DA IMDb
6,9/10
3,4 mil
SUA AVALIAÇÃO
A Confissão de Thelma (1949)
Assistant district attorney Cleve Marshall falls for the mysterious Thelma Jordon when she seeks help solving robberies of her aunt's estate.
Reproduzir trailer2:17
1 vídeo
67 fotos
Film NoirCrimeDramaMystery

Adicionar um enredo no seu idiomaAssistant district attorney Cleve Marshall falls for the mysterious Thelma Jordon when she seeks help solving robberies of her aunt's estate.Assistant district attorney Cleve Marshall falls for the mysterious Thelma Jordon when she seeks help solving robberies of her aunt's estate.Assistant district attorney Cleve Marshall falls for the mysterious Thelma Jordon when she seeks help solving robberies of her aunt's estate.

  • Direção
    • Robert Siodmak
  • Roteiristas
    • Ketti Frings
    • Marty Holland
  • Artistas
    • Barbara Stanwyck
    • Wendell Corey
    • Paul Kelly
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,9/10
    3,4 mil
    SUA AVALIAÇÃO
    • Direção
      • Robert Siodmak
    • Roteiristas
      • Ketti Frings
      • Marty Holland
    • Artistas
      • Barbara Stanwyck
      • Wendell Corey
      • Paul Kelly
    • 60Avaliações de usuários
    • 30Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Vídeos1

    Official Trailer
    Trailer 2:17
    Official Trailer

    Fotos67

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    Elenco principal70

    Editar
    Barbara Stanwyck
    Barbara Stanwyck
    • Thelma Jordon
    Wendell Corey
    Wendell Corey
    • Cleve Marshall
    Paul Kelly
    Paul Kelly
    • Miles Scott
    Joan Tetzel
    Joan Tetzel
    • Pamela Marshall
    Stanley Ridges
    Stanley Ridges
    • Kingsley Willis
    Richard Rober
    Richard Rober
    • Tony Laredo
    Minor Watson
    Minor Watson
    • Judge Calvin Blackwell
    Barry Kelley
    Barry Kelley
    • District Attorney Pierce
    Kasey Rogers
    Kasey Rogers
    • Dolly
    • (as Laura Elliot)
    Basil Ruysdael
    Basil Ruysdael
    • Judge Jonathan David Hancock
    Jane Novak
    Jane Novak
    • Mrs. Blackwell
    Gertrude Hoffman
    Gertrude Hoffman
    • Aunt Vera Edwards
    • (as Gertrude W. Hoffman)
    Harry Antrim
    Harry Antrim
    • Sidney
    Kate Drain Lawson
    Kate Drain Lawson
    • Clara
    • (as Kate Lawson)
    Theresa Harris
    Theresa Harris
    • Esther
    Byron Barr
    Byron Barr
    • McCary
    Geraldine Wall
    Geraldine Wall
    • Matron
    Jonathan Corey
    • Timmy Marshall
    • Direção
      • Robert Siodmak
    • Roteiristas
      • Ketti Frings
      • Marty Holland
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários60

    6,93.4K
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    Avaliações em destaque

    7bkoganbing

    Hooked And Begging For More

    The File On Thelma Jordon turns out to be an extensive one indeed. Had Wendell Corey examined it more fully he might never have gotten into the jackpot he did.

    A lot of critics compare this film with that other Stanwyck classic, Double Indemnity. There are certainly elements of that story in The File On Thelma Jordon. But I also see a lot of resemblance as well to the Dick Powell-Lizabeth Scott-Jane Wyatt noir film, Pitfall. If you've seen that one it involves a married, but bored Dick Powell casually drifting into an affair with Lizabeth Scott and getting sucked into some criminal enterprise. Joan Tetzel steps into the role of the wronged wife and was every bit as good as Jane Wyatt was in Pitfall.

    One desultory night as Wendell Corey is working late and getting helped along with a little libation, in pops Barbara Stanwyck to the District Attorney's office to complain about the lack of action the police have been giving to her complaints about someone trying to break into her house where she and her elderly aunt live. Corey's state of inebriation seems to be loosening any moral restraints and Barbara leaves him hooked and begging for more.

    So when the elderly aunt is in fact murdered, Corey doesn't think like an officer of the court, but instead he's using the gray cells in his male member to make decisions. He winds up prosecuting Stanwyck and paying for high priced defense attorney Stanley Ridges on the side. By the way Ridges is one shrewd article and suspects what's up, but keeps his mouth shut.

    Paul Kelly is in the Edward G. Robinson role as another member of the District Attorney's office who realizes this case has far more layers to this than originally thought.

    The film is definitely one that should satisfy Barbara's legion of fans.
    7PudgyPandaMan

    Turns out she was a Dame with a conscience

    From her first entrance, Stanwyck kept me captivated by her performance in this film. There is something about her that draws you in and holds you. You know there is more to her than meets the eye - but you're not sure what exactly.

    I have always admired Stanwyck. She was born Ruby Stevens, a Brooklyn girl that worked for a phone company and then became a chorus girl, before finally going to Hollywood to chase her dreams. She was nominated 4 times for an Oscar for Best Actress ("Stella Davis", "Ball of Fire", "Double Indemnity", "Sorry ,Wrong Number") but never won - except for an Honorary Oscar near the end of her life. She was considered a gem to work with for her serious but easy going attitude on the set (unlike many of her contemporary peers). This makes me like her even more!

    I thought the cinematography in this film was outstanding. I loved the elaborate sets and and set decorating.

    The plot kept me intrigued as well. Corey plays the perfect fall guy for Stanwyck. His average looks and dull exterior tend to make you feel sympathetic for this guy. Some have commented that they didn't have much chemistry together. I agree that they are an unlikely couple, but it helps you see how he could get so caught up in her and be willing to sacrifice so much. She was obviously outside his league.

    There are some nice twists and turns in the plot that will keep you interested - especially at the end. It's worth a watch.
    7TheLittleSongbird

    Thelma and Cleve

    There have frequently been two main reasons for seeing any film etc. One is the cast, so many films have a cast full of very talented actors that promises already so much. The other is if the story/premise itself sounds very interesting on paper. 'The File on Thelma Jordan' is another one of many examples to have both those things. Am also a great admirer of Barbara Stanwyck, and saw it also to see as many of her films not yet seen as possible.

    On the most part, 'The File on Thelma Jordan' is pretty impressive with a lot of great things going for it. If it had a better male lead and had a tighter pace to begin with, there was a lot of potential for it to be great. It just falls short of that but the good things are many and those good things are actually excellent. It really helps that we have such a great actress excelling in a role that plays to her considerable strengths and that we have a director that was experienced in this type of film.

    Am going to start with those good things. First and foremost, Stanwyck. She is absolutely marvellous here, she has a real allure and at times vulnerability but is also very steely and evokes chills. The supporting cast play their parts very well, even if none are quite on the same level as Stanwyck. Stanley Ridges especially comes over well. As does Robert Siodmak (who has done quite a lot of good films, especially 1946's 'The Killers'), showing a lot of flair and eye for detail and atmosphere.

    Visually, 'The File on Thelma Jordan' looks great. The photography is both gorgeous and atmosphere-filled. The lighting is suitably moody and the production design is suitably elaborate. Victor Young's score looms ominously in all the right places. The script is sharp and thought probing and the story has suspense and surprising grit. It is also not hard to follow without being simplistic.

    Wendell Corey was less good though in my view. Found him a bit too meek and anaemic in a role that too often goes overboard on the passiveness. He has a little more chemistry with Stanwyck than what was seen in 'The Furies', but it doesn't quite fire enough on all cylinders. It's competent but under-explored.

    Pace wise, it could have been tighter in the early stages and takes too long to get going. While the ending is a surprise, it could have been handled with more subtlety.

    Overall though, it is worth watching. 7/10
    8yardbirdsraveup

    Another classic film from the film noir era

    So much has already been said about this film, so I don't have to elaborate. All I can say about this movie is "oh my!". The reason being is that during the late 40's and early 50's a film about infidelity, even though popular at the time (Nora Prentiss, The Postman Always Rings Twice) was viewed by many as taboo, but that didn't stop them from flocking to the local theater to see it!

    What puzzles me is that this film has been ignored. It is a well crafted movie with all the elements of a good film noir. It has crime, it has sex, it has deception and it has corruption throughout and it has great cinematography; what a perfect noir! If you have a chance to see this film on TCM, do yourself a favor and make a copy. You will not be disappointed.
    9bmacv

    Stanwyck and Siodmak conspire to create a dark highlight of the noir cycle

    One of the noir cycle's best titles ushers in one of its better offerings. Barbara Stanwyck's assumption of the title role, of course, gives the picture a running start. She had worked with Billy Wilder – and helped to shape the cycle – in Double Indemnity, and was to work with Fritz Lang in Clash by Night and even Anthony Mann in The Furies (a western, yes, but a dark one), all key noir craftsmen. Here her director is the no less central Robert Siodmak, and her performances in this and the other titles cited (plus The Strange Love of Martha Ivers and at least five other suspense films of the 1940s and 1950s) cement her sobriquet as the First Lady of Film Noir.

    Like her Martha Ivers, Stanwyck's Thelma Jordon has a wealthy old aunt (Gertrude Hoffman, who the next year in Caged would steal that movie from some very tough competition). One evening the niece strolls into the District Attorney's office with a story about prowlers and burglars (explaining that she bypassed the police because `My aunt is eccentric, and uniforms upset her'). She tells her tale to an inebriated assistant D.A., Wendell Corey, who's drinking to escape his embittered marriage. Stanwyck lends a sympathetic ear, and they start seeing one another on the sly.

    When the aunt, inevitably, is found shot, Stanwyck calls not the police but Corey, and in a tense and extended scene of panic, he helps her cover up evidence that may incriminate her. When she emerges as the prime suspect, he also arranges for his boss to be disqualified, so he can sabotage the prosecution. Stanwyck (after a beautifully orchestrated processional from jail to courthouse) is acquitted. But her past has begun to catch up with her, complete with a shady lover who keeps turning up – and who shoves the compromised Corey out of the picture. But never trust a duplicitous woman, particularly if she's within easy reach of a dashboard cigarette lighter....

    Siodmak (with Ketti Frings, who wrote the screenplay) starts the movie so slowly that it looks like it's going to shape up into a routine, adulterous triangle. But he's just laying his groundwork. He keeps Stanwyck behind ambiguous veils, too, stripping them off one by one. Corey proves just right as the dupe, the fall guy (as Fred MacMurray proved right in Double Indemnity); a skillful character actor who always submerged his own personality in the roles he played, he tended to look a little pallid in leading-man roles he took next to the female stars against whom he was pitted.

    Siodmak may be the most ruminative of the great noir auteurs – he eschews flash for solid, patient construction. But when it's time for the big set-pieces (the nocturnal panic in the dark old mansion, the perp walk, the shocking flourish of violence at the end courtesy of Stanwyck and that cigarette lighter), he does them full justice. The File on Thelma Jordon falls just short of the summa-cum-laude distinction of his The Killers, and maybe of Criss Cross and even Christmas Holiday, too. But with Stanwyck's drawing upon the full fetch of her talents, it's an indispensable moment in the noir cycle.

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    Enredo

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    Você sabia?

    Editar
    • Curiosidades
      The actors portraying Wendell Corey's character's children are Corey's real life children, Jonathan Corey and Robin Corey.
    • Erros de gravação
      Cleve Marshall sits down at the desk opposite Miles Scott and says, "Can't talk till I have another drink." Scott picks up the whiskey bottle and pulls out the cork before handing it to Marshall. Marshall picks up the bottle and again pulls out the cork.
    • Citações

      Thelma Jordon: I'm no good for any man for any longer than a kiss!

    • Versões alternativas
      This film was published in Italy in an DVD anthology entitled "L'uomo con il mantello", distributed by DNA Srl. The film has been re-edited with the contribution of the film history scholar Riccardo Cusin. This version is also available in streaming on some platforms.
    • Conexões
      Featured in The Silver Screen: Color Me Lavender (1997)

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    Perguntas frequentes15

    • How long is The File on Thelma Jordon?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 20 de abril de 1950 (México)
    • País de origem
      • Estados Unidos da América
    • Centrais de atendimento oficiais
      • Streaming on "a colorized generation" YouTube Channel (colorized)
      • Streaming on "Broken Trout" YouTube Channel
    • Idioma
      • Inglês
    • Também conhecido como
      • The File on Thelma Jordon
    • Locações de filme
      • Old Orange County Courthouse - 211 West Santa Ana Boulevard, Santa Ana, Califórnia, EUA
    • Empresa de produção
      • Wallis-Hazen
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Faturamento bruto mundial
      • US$ 63
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 40 minutos
    • Cor
      • Black and White
    • Proporção
      • 1.33 : 1

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