L'Amant sans visage

'Nora Prentiss' had a lot to it that made me want to watch it. Its biggest draws were that it was film-noir mixed with drama, being someone who has always absolutely loved film-noir, and a very interesting idea for a story, one that had the potential to stir a fairly wide range of emotions if done right. Some good talent in front of and behind the camera, with as good a technical crew as one could get, composer Franz Waxman and lead actress Ann Sheridan.

Found myself really liking 'Nora Prentiss'. It is not flawless by any stretch and one can see where those that weren't so enamoured with it are coming from with their criticisms. 'Nora Prentiss' was one of those films that disturbed, moved and entertained me, and in a good way and not many films recently have made me feel like that in such a way. That's one of the reasons as to why the rating given has been given, as well as it having a good deal to admire elsewhere. With what didn't quite work for me, which was actually not much at all, not being minor criticisms, the rating could have been lower, but couldn't bring myself to do so with the good things being done so well.

Personally do feel that 'Nora Prentiss' was a little on the overlong side by about twenty minutes or so. The story did start to feel slightly over-stretched later on.

It is one of those in a way leave your brains behind kind of films. Genuinely did enjoy the film, but the latter did become a bit too silly and melodramatic, which did increase until it became somewhat ludicrous.

However, 'Nora Prentiss' looks great. The production design is full of atmosphere and is also quite sumptuous, while the editing never felt disjointed or chaotic instead flowing smoothly and even more impressive was the moody and beautiful to watch photography that enhanced the noir-ish atmosphere with ease. Waxman's score is not one of his best, but it is haunting and at times suitably stirring. Vincent Sheridan's directing is more than capable, allowing the film to never become dull.

The script was tight enough and didn't ramble, it provoked thought and was sometimes witty. The story mostly gave me chills when in its more disturbing moments, where there is far from diluted suspense, the chemistry between Sheridan and Kent Smith didn't ring false to me and there are real moments of poignancy. Didn't find myself bored and while the film does lose its way in the latter stages the ending is memorable. The cast are fine with Robert Alda, father of the better known Alan, giving the supporting turn that stuck out the most. Smith may seem bland to some, only from my perspective because Sheridan has the stronger character that dominates quite rightly. Actually think he did very well and brought enough intensity and nuance without being overwrought or too lightweight, the character's descent/degregation required a lot of both and Smith does just about convincingly in that. 'Nora Prentiss' is Sheridan's film and she is just excellent in every regard, she also has two solos in the film and she absolutely sizzles in both.

Overall, well done with many great elements but got over-stretched, due to over-length, and too silly later on. 8/10

Ann Sheridan gives an effective performance as the title character who has not had much luck when it comes to love. Unfortunately her luck only gets worse.

Kent Smith's character Dr. Talbot completely turns his life inside out and upside down in order to be with Ann Sheridan. (If there is anyone worth turning your life inside out for, it's Ann Sheridan ;-).

A worthy entry in the Film Noir canon, Nora Prentiss reveals two characters desperate to find happiness...but at what cost?

This film also has one of my favorite lines from a movie poster:

Would You Keep Your Mouth Shut If You Were Nora Prentiss?

Dr. Richard Talbot's teenage daughter runs to the kitchen window one morning and joyfully declares "It's Spring. Something's stirring." Later, when the good doctor is applying a bandage to the injured knee of a shapely chanteuse named Nora Prentiss, we are left in little doubt as to what that 'something' is!

This film is yet another variant on the theme of 'amour fou' which is capable of raising one to the heights and dragging one to the depths. As this tragic but highly implausible tale unfolds, credibilty is stretched to the utmost but Vincent Sherman somehow succeeds in covering most of the plotholes. Mr. Sherman is an extremely capable director and he is fortunate here to have Anton Grot's production design, the evocative cinematography of James Wong Howe and Franz Waxman's dramatic score.

It is customary to dismiss actor Kent Smith as being rather bland but he surprised me in this and engages our sympathy as the hapless doctor whose slow descent into the abyss is painful to behold. Suffice to say this is essentially a vehicle for Ann Sheridan whose role was expanded by order of Jack Warner. What can one say of Miss Sheridan? She combined oodles of 'oomph' with what one critic has described as 'no nonsense pragmatism.' She left us far too early but is still here thanks to the magic of film.

**SPOILERS** Straight laced at his practice as a big city, San Francisco, doctor and wonderful family man Richard Talbot, Kent Smith,has never done anything more serious in his life then being late at his doctors office. That was all to change when one evening going to his car he ran into singer Nora Prentiss, Ann Sheridan. Nora has a fainting spell falling on the street and bruising herself. Bringing Nora up to his office Richard after treating her starts to slowly fall madly in love with Nora. That leads to him throwing away his very successful practice his family, wife and two children, and later even his life, which in the movie he loses twice. Where in the end Richard faces the California gas chamber for first degree murder. The movie "Nora Prentiss" is about a mans obsession. That obsession leads him into such depths of depression and depravity that he destroys everything he held near and dear to himself in order to keep the woman, Nora Prentiss, that drove him into this madness and in the end loses her as well. Nora for her part is totally unaware of how far her lover was willing to go to keep her from disappearing out of his life. Spending money like crazy on Nora and using the excuse of working late at the office so that his wife Lucy, Rosemary DeCamp, won't suspect his almost nightly lateness from home Richard is still very reluctant to divorce his wife, on what possible grounds? Then like heaven sent a patient of his Walter Bailey, John Ridgely, who not only fits Richards hight and weight but is even Richard's age,43, pops into his office one night and collapses and dies from a heart attack! Going to call the police to pick up the body Richard get this bright idea to switch identities and thus bury his past, as Dr. Richard Talbot, and start a new life as whoever he chooses with who he feels is the love of his life Nora Prentiss. Nora who was leaving for New York for a job as a singer at the Sea Gull Cafe run by her very close friend and former employer Phil Dinardo,Robert Alda, runs into Richard who excitedly tells Nora that he's divorcing his wife and within weeks when his divorce papers go through they'll be able to get married. Rchard in fact disposed of Bailey's body with his wedding ring on him to make it look like he was the one who was killed. In New York living like a fugitive from the law Richard has Nora becomes a bit annoyed of his constant secrecy and avoidance of people. It soon gets to the point where she's forced to live with Richard in a hotel room and only having her job at Phil's nightclub as the only contact with the outside world. Richard, now calling himself Robert Tompson, for his part constantly keeps up with the news back home in San Francisco and learns that his "death" is being investigated by the police as a murder suspect with evidence found at his office; The cops found a letter of divorce that he partly burned that's interpreted as a blackmail note. Also at the accident scene the police found a can of gasoline with his fingerprints on it. Richard finally lose it when he finds Nora, who by then he already confessed what he did, in her dressing room with Phil! That has him go into a jealous rage and attacks the startled nightclub owner. This causes the police to chase Richard all through the streets of Manhattan ending up in a fiery accident in Central Park with his face badly burned. With Phil not pressing charges and Richard getting a face-over, plastic surgery, it now looks like he and Nora can finally get married and put his life as Doctor Richard Talbot behind him. It's then his being fingerprinted by the police for car theft and those fingerprints matched those back in San Franciso on the can of gasoline come up as a match! This made Richard the number one suspect in his own murder! how's that for ultimate justice. Now with nothing to look forward to with his wife and family as well as Nora out of his life forever Richard, or as he's known now as Robert Thompson, can only sit in his dark prison cell and count the days leading up to his scheduled execution. He can also see what a mess he made of his life by reaching for something that he should have known was well out of his reach Nora Prentiss.

Ann Sheridan is a nightclub singer who gets involved with a straitlaced, married doctor in "Nora Prentiss" - and the consequences are interesting indeed. The doctor is played by Kent Smith, well-remembered by yours truly as the husband of Simone Simon in "Cat People." Though he never reached big movie stardom, Smith enjoyed a 40+ year career in film, on radio, and TV. In this, he's regimented and by the book, partly helped by his equally disciplined wife, played by another favorite of mine, Rosemary DeCamp, a wonderful actress. One night, Prentiss ends up in his office with a mild injury, and from then on, the good doctor can't imagine life without her and what he's been missing. Conflicted about asking his wife for a divorce, one day, an opportunity drops into his office, and nothing is the same again.

This is an intriguing film, but it takes a little bit too long to get to the point. The ending by '40s standards took me by surprise. Though Sheridan is nothing like Kay Francis, they both are women associated with a certain era - you can't think of Francis without thinking of her in those flowing '30s gowns and outfits - and you can't think of Sheridan without tailored suits and shoulder pads. They went along well with her earthy quality and low speaking voice. The overall effect was of someone who had been around the block but still had her dignity and self-respect. Photographed by James Wong Howe in this film, she looks marvelous. Though IMDb doesn't state if she did her own singing in "Nora Prentiss," if she didn't, the voice matched her speaking voice perfectly and sounded great.

Kent Smith is very good as the pent-up, frustrated doctor. One criticism would be that most of the time, doctors look at bodies clinically and aren't usually embarrassed by the site of a woman's knee, as Smith is in one of the opening scenes. However, he's very effective, as are Robert Alda and the always reliable Bruce Bennett in smaller roles.

This film apparently did a lot for Sheridan's career, which is understandable. Very good movie.