Portrait d'une aventurière

The opening scenes of this grim melodrama are reminiscent of the Barbara Stanwyck oldie, BABY FACE, about a girl's rise up the ladder of success by stepping on the men in her life as she seduces her way to the top. It's an old tale, done before in many films, and it gets fairly good treatment here.

ARLENE DAHL is convincing enough as the femme fatale every man is a sucker for, scheming her way to the top by doing whatever it is she can to pull the strings and push the right buttons. PHILIP CAREY is the one man who sees through all her manipulative ways, acting more or less as the woman's conscience by reminding her until the end of the story of the sins she commits.

Seems that she was badly abused in her youth in a gang rape situation and has never been able to love men since. Dahl plays the role in a gutsy way and it's probably one of her best acting jobs in an offbeat dramatic role.

Made at Columbia, in England, after she left MGM, it demonstrates that she has a range that was never tapped by her home studio. The sensible ending leaves open the question of whether she and Carey will ever be able to sort out the issues that kept them apart.

Arlene Dahl was a beautiful woman. She doubtless still is. She had a cold look, which works for this movie. She plays a gold-digger with little heart. The character seems to be icy physically, too: She likes what men can get her but romance and sex do not appear to be among her interests.

Herbert Marshall, for decades a leading man, ends up in this too. He plays one of the men she uses.

There are similarities between this and "Baby Face" with Barbara Stanwyck. That movie packs a real wallop, though. This one is chic but tepid.

This film almost gets to the finish line but for it's final minute. The end lacks a master touch but gets to that point with a creative plot. The Camera work is among the very best and drives the story almost flawlessly.

Fab 50s fashions are the best thing this film has to offer with its story of a woman who works at some shirtwaist dress company who manipulates her way out of the "hoodlum" infested neighborhood in NY she comes from, claiming to be from tonier Boston! Sadly it seems they ran out of a costume budget halfway through, when, in spite of having hooked her biggest fish yet, she starts wearing outfits over again (such as a hideous white stole) - outfits less stylish, strangely, now that she lives in Paris!

The locations/sets are to die for. As is Arlene Dahl - gorgeous - but I kind of find her even more remarkable later in her life on the game show circuit. That's some long lasting glamour she's got! Besides as a young gal she looked too much like Janet Leigh. She married some hotties in her time and offsprang some too. Wow. Lex Barker, Lorenzo Lamas. Mmmm mmm! Not too shabby, tabby!

The film was introduced by a historian reading excerpts from a transcript of a suit brought by AD against the studio over a composite photo made for publicity purposes for which she maintained she never posed (and it certainly isn't in the film) in which someone kisses her nude shoulder. She insisted it was a "wanton" image, while maintaining she was "no prude". The court however found the image "delicate and artistic" or some such... she lost the case. All the same she says this is one of her favorite vehiculars. Well, I haven't seen any of her others but either they were pretty bad or her taste in hotties is better than her taste in pictures!

Anyway, the mitigating finale of the film is kind of a disappointment, as is the general low level of her wickedness throughout. Sure, she's "cheap and horrible" as Mildred Pierce said of Veda, but the whole story is told in more amusing pointed and flat out woman hatingly in some of those Hollywood precode films like "Babyface" with Babs Stanwyck (who never married any hotties). "Wicked" pulling its punches didn't really add much to it. Girl, if this is "wicked as they come" then I guess there are no whores, only (violated and somewhat narcissistic) madonnas!

Wicked as they come is the suggestive title of this 1956 British drama, with Arlene Dahl as the protagonist. It is the story of a beautiful woman, who reveals symptoms of misandry from an early age, but ruthlessly uses men as means of social and financial advancement.

The film portrays this life path, with a refusal of emotional involvement, which accumulates enemies and seems destined for a tragic end.

It's an interesting, original, well-paced film, a little melodramatic for some people's tastes, but one that can be enjoyed until the end, as a result of the plot's ongoing developments.

With Philip Carey, Michael Goodliffe and veteran Herbert Marshall, among the actors who embody the suitors passed over by the Machiavellian Kathy.