Les nuits ensorcelées

I found this to be moderately enjoyable and much smoother than I was expecting, after reading of all the problems in making it and the cutting of musical numbers from the original score. Would love to see it as was originally intended (in a restored DVD version).

The psychoanalysis as it unfolds is interesting and makes sense, except to the point of the woman needing to be dominated by the man. I don't know if this was dictated by the culture of the time, but all that was really needed was for Liza to know she needed to give time to gaining fulfillment in a relationship (without the aspect of dominance) and not be so driven work wise (her substitute), and it would have come out without the nasty taste it leaves now (in regards to this aspect of the film).

Director Mitchell Leisen dealt with this sort of theme also (without the psychoanalysis) in Take a Letter Darling which was funnier and sharper, and without the need for the man to have to dominate the woman.

Some of the visual imagery in the dream sequences is a lot of fun and apparently a lot of care was put into their production.

As well the movie seems like it is a 50s product but that could just be the colour.

A Technicolor spectacular, with costumes and wonderful sets to match, but the story isn't much, mostly what you might expect to read in Popular Psychoanalysis magazine.

Best are the dream and reverie sequences, especially the trial in the circus ring. These are where the singing and dancing is, but there is not much and what little there is is not very exciting.

I like this movie. It is confusing and difficult, but you can't help but like it. Ginger Rogers plays a fashion magazine editor...and she finds herself having headaches and feeling dissatisfied. This makes no sense, as she has an exceptional job (especially for 1940) three suitors, and conscious and unconscious lives that are fabulously costumed. She goes to her doctor who recommends a psychiatrist...a drastic move for the time...which she promptly declines...but then does finally go to. Ginger undergoes a great deal of stress in this film,and keeping a bottle of aspirin at hand might be wise. As she makes progress with her shrink...her dream sequences become more and more lavish. The film is beautifully costumed...even clothes left lying on a chair...are fabulous. And there are HATS. HATS. Hats... mousey through military...lots of hats...and FURS...Ginger has one dress with a floor length mink skirt...lined with gold and scarlet sequins, two or three fur coats, a muff, and several other dresses trimmed with fur. Pull the shades and make certain that no one from PETA is around when you run this film. The dream sequences are the real meat of this...they are very beautiful and very surreal. In the end, of course, Ginger selects one of the men (no, not the married one) and seems to be on the road to recovery. You get the feeling that a lot got left out...and I don't know what (yet). I know Danny Kaye was 'discovered' in the Broadway show...and that he had special material. Danny was under contract to Sam Goldwyn by the time this was made...so neither he nor any of his special material made the transition into this film. This film is a visual knock out...and a restored print should be made and hi-def DVD's struck...so we can watch this from time to time. It cannot help but remain dated and politically incorrect....that is the legacy of its 1940 dateline.. but it will certainly always be stunning to look at.

Liza (Ginger Rogers) is the editor of a magazine who can no longer make decisions. She suffers headaches because she is highly strung about work and she has a love life that she is not comfortable with. Through psychoanalysis with Dr Brooks (Barry Sullivan), she unravels her troubles by recounting 3 dream sequences. Can she regain her decisiveness?

This film is a bit girly in that it concerns one woman's journey to discover lost memories and understand her behaviours. It has great colour, good costumes and it's well acted with a spattering of humour throughout. The bulk of the film comes in the form of dream sequences which are musical, colourful and surreal. The 2nd sequence has a pointless dance scene which drags on a bit but overall the dreams are entertaining. The rest of the film follows the romances that Liza has alongside her role as a tough "boss lady". The film is fun and has a happy ending.

The lady is in the 'dark' about being a lesbian. Oh why can't somebody just say it. I guess you could on Broadway and with Gertrude Lawrence in 1940 but at Paramount in '44 with Ginger, well, she just had to stay in the dark and have repressed sexual dreams about her fur in a cage and her eggs at a circus (see the Jenny number) ... and see that dress she unfurls.. a vagina representation of ever I saw one on a movie screen that wasn't x rated. In this ultra glamorous dreamy musical film Ginger is a business woman in business attire (read: lesbian .....) and she is tormented between her real business and society's demands that she marry and be with a man. Hence dilemma, dreams and fur openings and the egg circus (see the Jenny number) ... the storyline demands she relate to a man when she does not want to hence the dream sequences of antagonism and sexual wonderings. Ray Milland is the sop she is deemed to marry when anyone from this century can see she really wants to stay in a women's world and stop being a frustrated big angry prowling pussy in a cage (see the Jenny number) .... Kurt Weill knew what he was on about and so do we... but Paramount, in masking it for the masses in '44 pushed the pussycat into the fantasy sequences, hired a gay director and let loose on the dreams and shot the lot in the best most stylish Technicolor you ever saw outside of YOLANDA AND THE THIEF and THE PIRATE. In this according to Paramount, all Ginger needed was a jolly good roger.... ing.....