L'étrange fascination

I happen to find these Hugo Haas-Cleo Moore films entertaining.

Haas was a famous actor in his native Czechoslovakia until he had to flee the Nazis. Once in America, he became a director and a writer of B movies usually starring a gorgeous blond.

The gorgeous blond in this case is Cleo Moore. Paul is an up and coming concert pianist with a sponsor (Mona Barrie). One night he drops into a bar while a dance routine is in progress, and makes too much noise as far as the female dancer Margo (Moore) is concerned. So, similar to the last film I saw them in, she sets out to ruin his life.

She attends one of his concerts and instead becomes enamored of his music. Slowly but surely she wields her way into his life, and the two marry.

Margo goes along with Paul on his concert tour. It's highly successful until it abruptly stops due to a flooding situation. Unfortunately, in part thanks to Margo, Paul is flat broke. And he can't depend on his female sponsor to help him.

This is where the film for me goes off the rails. The guy hits the skids in like five minutes. If this were Van Cliburn, would the cancellation of one concert cause total destruction? Suddenly he's a big nobody. When Margo tries to work, he becomes jealous and possessive and refuses to let her, mainly because she's a flirt.

It goes on from there. Haas is a very warm actor, and he gives us a sympathetic if unreasonable character.

Moore does a good job and looks very glamorous. It's hard to decide if she loves Paul or was just using him all along. I think she does care about him, but they're both suffering.

Very nice ending.

I won't belabor you with plot details -- other reviewers have done that just fine.

I do disagree with most of the ratings that precede mine. Greatness here? No. But definitely watchable with two very real characters (that's scripting) and two solid performances.

I have no idea what the cost of making Strange Fascination was. It seemed low-cost but not corner-cutting. I'm no high-brow musically, I never heard of Hugo Haas and barely knew of Cleo Moore. I didn't enter with great expectations. I came away pleasantly surprised. I found a good mix of on-screen chemistry, despite the characters' wide variance in background and age.

Directors who act in their own films would probably want to be their own lawyers. (This means you, Heywood Allen.) Here, Haas comes out OK both in front of and behind the camera. Moore is appropriately attractive, as well as being effective.

Good, tight, well executed B-plus film. Worth your while. Mine, anyway.

Hugo Haas's personal story and how it relates to this film is undeniably moving, but unfortunately the tale he created didn't have much of a spark to it, and if you're looking for noir you're probably barking up the wrong tree, this is a melodrama.

There is a certain pathos to the parallel stories involving acts of friendship which are accompanied by feelings, both in the rich woman (Mona Barrie) who sponsors the Czech pianist (Haas himself), and in his befriending the showgirl who's down on her luck (Cleo Moore). In both cases, it's the pianist who is the object of affection, but it's only with the younger women that he gradually begins to reciprocate. When she moves into his apartment, it's made clear he's like a grandfather to her, so that when they later marry we can be assured per the Production Code that their relationship was platonic beforehand, neutering what might have been wonderfully scandalous. The only flash of life for me was when she was swinging her hips in the kitchen, imagining her next musical number.

The film lumbers through the ensuing melodrama when unsurprisingly they don't just live happily ever after, but it all felt pretty staid, even the jealousy that develops when his career falters and she wants to return to work with a guy who looks like he's meant more to her than just a boss. This is one I liked seeing more because of Hugo Haas's life than the actual film, speaking of which, it was a nice touch to see his wife Maria Bibikov as Nurse Peterson towards the end.

A European pianist comes to America and falls for a dancehall girl. Written, directed, produced and starring Hugo Haas, who doesn't do a particularly good job in any of those roles. The script is lifeless and poorly written (including a second act twist that doesn't make a lick of sense), a lot of very prosaic drama that never catches fire. The camera-work is entirely uninteresting, and borderline amateurish. The performances and characterizations are bland. This is the first of seven films that Haas did with pin-up gal Cleo Moore, which is odd because here they have little chemistry together. The film is categorized as noir, but that seems like a stretch by any definition of the genre. Only in the final 10 minutes do we get any compelling plot material, and I will say I quite liked the ending. But otherwise it's a snooze.

The Czech actor Hugo Haas was a very popular film star. However, after fleeing the Third Reich he came to America and his career never reached the same heights. He mostly appeared in lower budgeted movies, though a few times he managed to do what he did in "Strange Fascination"...he directed, wrote, produced AND starred in it!

Paul (Haas) is a concert pianist who is unknown in America. Through the help of a rich American lady, he is brought to the States for a concert tour. While this works well, things start to go amiss when he falls for a trampy dancer, Margo (Cleo Moore). She is an expert at playing men and the middle-aged Paul hasn't a chance with her. Soon she is a major part of his life and he marries her. However, he isn't a rich man and is beholden to his sponsor, Diana (Mona Barrie). And, this sponsor soon abandons him when Paul makes a mess of his life. What's next in this tragic tale? Plenty!

Is this a fun film to watch? Nope. It's pretty tragic and sad. It is, however, well made I also appreciate how Moore's character is conniving but not 100% awful...and many of Paul's problems are self-created. It's not just a 'black & white' marriage. Overall an interesting character study but also a downer of a story. So, if you are feeling depressed, it's NOT a story for you!