Ils ne voudront pas me croire

Larry Ballentine is on trial and isn't helped by the fact that his unshaven defence lawyer isn't risking cross-examining the witnesses because their statements have built such a strong case against his client. Ballentine's main hope is that he can take the stand and convince the jury that he is innocent of his crime. He tells the story of how he met Vernia and how they fell in love, only for him to be trapped between the two women in two relationships and the lack of courage to go one way or the other.

A nicely tough little film that twists a relationship drama with a pulpy thriller to produce a film that doesn't always work but just has enough of a hook to it to hold me from start to finish. For the majority of the film we are following Ballentine as he fails to do anything with his life other than be a real low-life in how he treats the women in his life, however we also have the ongoing hook of the court case to keep us interested in where it is going. In both these threads the film works reasonably well and, despite being a bit melodramatic, is generally a good pulpy drama with nice use of guns and interesting (if obvious) references to drug use (heroin – the horse with the taste for sugar). It gets tougher as it goes along and our "hero" gets in deeper and deeper to the point where the "perfect crime" appears a possibility (had he never seen this genre before!). It is a generally good plot and I liked it although I could see why the mix of relationships, court cases and crime would not sit so easy for most viewers.

The cast are pretty good. Although the main character Young is given second billing to a delicious performance from Hayward who plays her character really well. Young is also good though, playing his character smart enough to try and get out of his situation but also weak enough to get into it. Support from Greer, Johnson and a few others do well to fill out the cast. Pichel's direction has some good atmosphere when required but is mostly just solid and standard for the genre, although the general delivery of the story is good and well put together.

Overall a solid pulpy drama that touches on noir and melodrama at different stages. The mix works well and I enjoyed the story, the characters and the acting. I did think that the court case frame could have been used better to inject more of a sense of doom to it and the ending was a bit "fair" due to the period pressures but still I enjoyed it and found it interesting.

They Won't Believe Me is directed by Irving Pichel and adapted to screenplay by Jonathan Latimer from a story by Gordon McDonell. It stars Robert Young, Susan Hayward, Jane Greer and Rita Johnson. Music is by Roy Webb and cinematography by Harry J. Wild.

Larry Ballentine (Young) is on trial for murder and he tells his story in flashback. Three dames and fate does not a good mix make.

"She looked like a very special kind of dynamite, neatly wrapped in nylon and silk. Only I wasn't having any. I'd been too close to one explosion already. I was powder shy".

A splendid slice of noir drama is put together by a group of film makers who knew how to make the noir style of film making work. The story has all the requisite ingredients to lure the interested viewers in, twists and turns, vipers and snipers, dialogue so sharp you could cut a steak with it, and a love rat protagonist (Young splendid in a break from his normal roles) being toyed with by Old Noir Nick and his friend The Fate.

In true noir tradition the plot is a little "out there", the middle section drags at times, while Harry Wild's cinematography doesn't kick in till a good hour into the play (worth the wait though!). But this is a little noir treasure waiting to be seen by more people. It's not unknown, the cast list ensures that is not the case, but in film noir circles it doesn't often crop up for discussion. It should, for it's tricky and devilish and pays off with a finale straight out of noirville. 8/10

Robert Young? In a noir? He's near his best here, though for me his best is "Lady Be Good," in which he seems to be having a truly great time.

Jane Greer looks luscious. Susan Hayward is very good -- though her best was "I Can Get It For You Wholesale." And Rita Johnson is good, in a different type of role from her usual.

The rise and fall and rise and fall of a womanizer.

It's well plotted, though slightly dull till the final five minutes. Then, the climax: No one who's ever seen this will forget it. (And I'm certainly not going to give it away.)

Robert Young plays a gigolo type on trial for murder. In flash back he tells his story, and things are not necessarily what they appear to be. Despite some criticisms accusing him of being miscast I thought Young was convincing enough and played the role well. Sure, Robert Mitchum or Dick Powell would have been preferable, but I didn't think it was that much of a problem. The three major women in Young's life are played by Susan Hayward, Rita Johnson, and my favourite Jane Greer (who subsequently co-starred with Robert Mitchum in two great films 'Out Of The Past' and 'The Big Steal' in the late 1940s). All three are very good. 'They Won't Believe Me' is a minor Noir picture, but is still entertaining enough. The most memorable thing about it is the unexpected shock ending, which would be too corny to pull off these days, but is very effective in the context of the movie. A much more interesting Robert Young picture from this era is 'Crossfire', in which he co-stars with Roberts Mitchum and Ryan. 'They Won't Believe Me' isn't as compelling as that, but it's worth watching.

Great performances from the four leads make this noirish melodrama a stand-out. Cast against type, Robert Young gives one of his finest performances (far more interesting than that in Crossfire), subtly giving his role of philandering but strangely sympathetic heel a depth which may perhaps go by unnoticed by some. Rita Johnson, in the minimal screen time alloted her, is likewise able to intimate complexities of character which imbue her role of manipulative wife with a touching frailty.

The shortened re-release version (which I viewed in a colourized copy) has been cleverly edited to leave the plot intact, but with 15 minutes of cuts significant elements of character development (all-important in a film of this type) have been sacrificed. The deletion of part of the scene at Nicks dilutes the initial warmth of the relationship between the Young and Jane Greer characters. And a concert scene which shows up the petulant nature of the Susan Hayward character has been deleted altogether. Other elements deleted from the re-release print are some of the opening remarks made by Frank Ferguson, and some dialogue between Young and Hayward when they are in his car on the way to her apartment.