Il était une fois

"A Woman's Face" is a film that shows George Cukor, one of the best film directors of all times, at the top of his profession. In fact, this film precedes probably his "Gaslight", which might be one of his best movies he directed. The screen play is by another man who had a knack for adapting theater material for the screen, Donald Ogden Stewart. The combination of both these men give the viewer a film with a rich texture.

This film belongs to Joan Crawford, who carries it with style and panache. This role ranks as one of the most complex Ms. Crawford ever played in the movies. Her characterization was molded by Mr. Cukor who clearly understood how to get a good performance from his star. In fact, Ana Holm, is one of the best things Ms. Crawford portrayed in the movies and she is seen without the excessive makeup.

Conrad Veidt is also one of the assets of the film. He is perfect for his part and holds his own playing against Joan Crawford. Melvyn Douglas, on the other hand, doesn't fare as well, perhaps because of the way his character is written. There are also wonderful performances by Richard Nicholas who is seen as the young boy Lars-Erik. Marjorie Main. Osa Masser, and Reginald Owen are seen in supporting roles.

The film is a must see for all Joan Crawford and George Cukor fans.

Crawford has one of the more complex roles ever given her. Playing a scarred woman who hates everything and everybody, she shows depth in her performance that she'd never shown before. Director Cukor got her to tone done her usual overacting (no mean feat) and she beautifully underplays the role. Exciting story, beautiful settings, good acting, incredible directing...it's a wonder this film isn't better known. Well worth seeing, especially if you're a Crawford fan.

Joan Crawford has one of her more complex roles and plays it brilliantly in 'A Woman's Face'. It ranks with her work in 'Mildred Pierce' and 'Possessed'. Matching her is Conrad Veidt, always the suave villain (who also specialized in playing Nazi types). Crawford excels as a scarred woman who undergoes plastic surgery to change her life. The situations become more melodramatic as the plot gets thicker and there are a few too many flashbacks--but overall, the effect is a stunning film that makes you think about how one's appearance shapes one's life--for better or worse.

Certain sequences have a stark, no holds barred manner of storytelling, grim and suspenseful--as when Anna Holm considers pushing a child to his death from a cable car. The wintry landscapes and glittering interiors are all handsomely photographed. Melvyn Douglas doesn't register too strongly at all. It's strictly Crawford's picture with some superb help from Conrad Veidt.

The pace is rather leisurely under George Cukor's direction but quickens midway to a smashing climax. By all means, see it. A strong melodrama with some unexpected twists.

The fact that Joan Crawford failed to win an Oscar nomination for her magnificent performance in this film is a travesty! Her talents as an actress were never more evident in her portrayal of a bitter woman who hates the world because of her disfigurement.

Joan Crawford got a plum role in A Woman's Face and George Cukor got a very good performance out of her. Especially when you consider this role was originally intended for Greta Garbo. If Garbo had done it this film would have ranked among her best.

A Woman's Face casts Crawford as the scarred and cynical leader of a gang of blackmailers and thieves who use a roadhouse cafe that she owns as the place to lure rich suckers and trim them. She was scarred shortly after her birth and on her right side looks like Gloria Grahame after Lee Marvin scalded her in The Big Heat.

Among a crowd she has one night are plastic surgeon Melvyn Douglas and no account count Conrad Veidt. Douglas is interested in her professionally, thinking he can work his plastic surgical magic. The problem is that people scorning her all her life has given Crawford a really cynical and rotten outlook on the human race.

That outlook however is just what Veidt wants. He wants to rope her into a plan to kill his young nephew so that he inherits the vast estate. On his recommendation Crawford is sent to Uncle Albert Basserman's estate to be Richard Nichols's governess. The better to gain access to the kid.

Still Crawford sees a chance for a new life and she's conflicted.

Considering this role looks tailor made for Garbo, Crawford delivers a very good performance running the gamut of emotions on screen. I also have to say that Veidt was one cunning devil of a villain. His scene with Crawford where he declares what he intends to do with the money from the estate is both chilling and timely for 1941. Definitely one of Veidt's best English language performances.

This one is a must for Joan Crawford fans.