Les filles de la pénombre

Originally a play, the director has chosen not to open it up, so that the story is housebound and, by the standards of 63 years later, hokey - I mean, 40% of American children are born out of wedlock today, yet back in 1952, when that figure was no more than 6 or 7 percent, the subject could hardly be mentioned in American films. One assumes more or less the same percentages in England, yet over there they could meet the challenge head on and actually make a film in which most of the female characters are unwed mothers, some expecting to be wed in time, others having given up hope, still others benefiting from the Total Woe. If that sounds unpromising, watch this film, for it is an object lesson in fine acting by (mainly) postwar British actresses (the only male role in the film with more than a few lines is Lawrence Harvey's), and despite the high theatrics, you may be riveted for its running length. It boasts some incredible talent, actresses who rarely crossed the ocean, so to speak (only Lois Maxwell, later of James Bond fame, would be well-known outside Britain, but she was Canadian and had her acting chops honed in Great Britain, too). Maxwell is fine, but there are several other actresses who were practically English stage, screen and variety royalty - and I do mean the ever-bonkers Freda Jackson (see her steal "Brides of Dracula" from Peter Cushing and Martita Hunt, if your heart can stand it); the greatly talented Rene Ray, the erstwhile 'young' star of the film, who by this time was past 40 (and looked it) and had been a star for 20 years in film, on stage, and as a singer (and would shortly go on to great success as a science fiction writer!); Vida Hope as Jackson's venomous assistant, exuding pure vitriol much of the time; and the ever-delightful Dora Bryan, who rather than being considered simply a British Institution was surely recognized as a National Treasure. Add to them the tragic Joan Dowling (a suicide at 26) as the Giggling One, Barbara Gordon as the Mad One, etc. and you have a feast of high-powered acting to wallow in. If you are not predisposed to such wallowing, this may not be your cup of tea, but it is the kind of film that could have been made (had they all been of the proper age at the same time) with Katina Paxinou in the Jackson role, Bette Davis in the Ray one, maybe early Eleanor Parker in the Maxwell role, maybe Shirley Maclaine as a good substitute for Bryan, Goldie Hawn in the giggling Dowling role, and Sandy Dennis as Gordon's Mad One. Or, given today's computer graphics, you could have had Glenn Close in her best FATAL ATTRACTION mode replacing Freda Jackson, and Meryl Streep playing everybody else! It's that kind of ensemble acting film, but Streep is an ensemble all by herself. Anyway, enjoy the wallow. Otherwise, pass it by. (But, if you do, you'll really be missing something!)

PS: IMDb gives Lois Maxwell's height as 5'8", but in every scene in this film in which she is standing with any or all of the acting ensemble, she seems to be a foot taller than anybody else in the room!

Creaky British drama set in a boarding house for single mothers that takes its time to get going, but builds up quite a head of steam in its' final act thanks to a wonderfully sinister performance from Freda Jackson as the outwardly benign head of a baby selling racket.

Oddball British import, circa 1953. I'm not sure where this tricky flick would be shown in 1950's USA as it apparently was (Lippert Distributers). After all, it's about unwed mothers getting sanctuary in a run-down apartment run by a sinister landlady (Jackson). The whole topic of pregnancy was a touchy one in an age when not even Lucille Ball could say the word "pregnant" on TV's I Love Lucy. Still, the topic is soft-balled in the movie, such that the more pejorative aspects of unwed motherhood are elided, which may have made it more acceptable to US audiences.

Anyway, the narrative mainly occupies interactions between the women, with men hardly seen at all, including future star Harvey who gets only brief screentime. Then too, there's no attempt to glamorize or even prettify the girls. The plot itself develops into a growing bond between wounded-soul Vivianne (Ray) and kindly lady-like Christine (Maxwell). It's Ray's various shades of inner suffering that carry the drama, which she does quite well. At the same time, I couldn't help noticing how much the film resembles a women's prison flick with Nellie (Jackson) as the slyly cruel warden and the girls struggling to just get by. In fact, the crafty Nellie only houses the desperate girls in grim conditions so she can sell their wedlock babies. Oh my.

On the whole, it's a well-acted 90-minutes on a touchy subject that refuses to glamorize in any fashion. Thus, for all its interesting aspects, the movie's probably not a good choice if you're feeling need for uplifting eye-appeal.

IN 1952 I was 10 and have no idea if either of my parents saw this film ? I had never heard of this title as a theatrical production either ! As outdated as this monochrome screenplay is , for me it definitely made an important theme powerful enough to meet today's Standards of story telling . As horrific as the evil perpetrated by adults and even children on children which still perpetuates modern Society in 2019 this story is undoubtedly relevant . The out of fashion hair styles , clothing and even manner of speech do not In any way detract from the heart rending nastiness of the baddies ! If the viewer can overlook those points, this stands up as a film well worth the time it takes to arrive at what many will guess to be the eventual outcome ? If you are seeking small minded Criticisms , this film is not for you ? Well acted, occasionally over done , and none the worse for that either. I suggest this screenplay is more informative of its era ( just after WW2 ) than it is entertaining ? No laughs or lighter moments , A serious and difficult subject handled with intelligence and dexterity .

Other than for the presence of Laurence Harvey in a supporting role, Twilight Women would be long forgotten today. Some interesting performances characterize this film about a topic that would be seldom mentioned on the Code driven American cinema.

The topic is unwed mothers and Freda Jackson's home for them in London. An outwardly charitable woman, Jackson is quite ruthless and a touch mad as her only interest is getting control of the infants and selling them on the black market. And of course staying way below the radar of law enforcement and social welfare.

Harvey is the criminal father of Rene Ray's baby and is scheduled to hang for a murder which he does. Ray's struggle to survive against Jackson is what drives the film. Jackson however gets the kudos, you will not soon forget that woman. It's what gives this rather cheap production the reason to see it.