Le prix de la peur

Moderately entertaining B picture, "The Price of Fear" embodies several noir elements, but plays as little more than a made-for-television crime drama. A hit and run sets off a chain of events that include murder, blackmail, double-cross, bribery, and theft. A late-career Merle Oberon stars as Jessica Warren, a successful financial advisor who makes a fatal mistake. While an unexpected turn offers her the opportunity to blame someone else, by implicating another, she inadvertently provides an alibi for murder. In her mid-40's, Oberon retains her beauty, although her confidence must have been faltering, because the other characters are obliged to throw compliments her way. Casting the eight-years-younger former Tarzan, Lex Barker, as her love interest, was even more flattery to an aging star. Barker's character is not the brightest bulb, and the 6'4" blonde hunk falls for Oberon's icy charms and easily into her duplicitous trap.

Engaging a voice-over introduction and employing Irving Glassberg's crisp black-and-white cinematography, director Abner Biberman and writer Robert Tallman construct a decent, if unexceptional, mid-1950's film noir. Oberon and Barker are ably supported by Warren Stevens and Phillip Pine as gangsters and Charles Drake as a police sergeant. While the roles are undemanding, the cast is creditable for the material.

Fast moving and relatively taut, "The Price of Fear" has the usual plot holes and an unconvincing romantic angle that seems to develop overnight. However, the twists are enough to keep viewers' attention and provide 80 minutes of entertainment for fans of Oberon and Barker and for less-demanding film-noir enthusiasts.

Like a lot of Universal-International's 1950s output, THE PRICE OF FEAR is a studio-bound soap opera that borders on kitsch, but within that soap opera, star Lex Barker and an exciting plot in the Hitchcock vein struggle to make the film something better. Barker plays the co-owner of a racetrack where the mob is trying to muscle in. One night, he happens to be in the wrong place at the wrong time with the wrong people and his life begins unravelling and he goes on the run. Unfortunately, Merle Oberon enters the picture. I don't know if Ms. Oberon had something else on her mind while making this picture, but she seems to be posing for still photographs throughout the film. Oh, she's gorgeous! glamorous! stunning! But her posing and gown-modeling belongs in a 1920s Gloria Swanson vehincle--or maybe a PARODY of a 1920s Swanson vehicle! It's hard to believe that a savvy character, such as the racetrack owner played by Barker, would fall in love with such a cipher as Oberon's character. If you can forget the soap-opera elements of the plot, there's a good mystery here...and the climax and ending are genuinely surprising. However, only devoted Barker fans should try to find this film.

Businesswoman Merle Oberon runs over an old man and speeds off. She has second thoughts and stops at a phone booth. After she gets the police, Lex Barker, on the run from gangsters who are about to kill his partner, spots it, hops in and zooms off. Miss Oberon reports the car stolen. Buddy/police Lieutenant Charles Drake thinks there's something wrong with the set-up.

There's something about this sort of 1950s drama that strikes me as not impossible, but brittle. So many of the lines are delivered without any emotional weight to them, as if the character is thinking about his words, then considering why he has chosen those words, until all feeling has been rendered out out them. Perhaps it's the pace of the dialogue that I find so unappealing. In the late 1930s, the pace of dialogue in the movies sped up, and the audience was given the impression of a stream of consciousness. Certainly Joseph Gershenson's two bars of theme that rise up majestically from a large orchestra overwhelm the performances instead of accentuating them.

Merle Oberon stars as a beautiful, glamorous business woman who is motivated by fear to do some despicable things. Guilty of a hit-and-run car accident, she must frame the man she loves in order to get away with murder! Along the way, she becomes involved with gangsters and detectives, and becomes ever more deeply mired in a chain of incriminating events. This is the type of role we are used to seeing Barbara Stanwyck fill, and Oberon does a beautiful job, but plays it her own way -- not as a tough dame, but as gracefully refined and secretly cunning. Sadly, this would be one of Oberon's last starring films. Clearly, Hollywood stopped offering her work too soon, but those were the days when glamorous female stars were phased out after 40.

This film is now available on DVD as part of the TCM Vault Collection's "Women in Danger: 1950s Thrillers" Collection (all Universal films). The quality is very good and this is a set worth adding to your collection.

Merle Oberon is always worth experiencing in any circumstances, and here they are rather confused. She is a top member of society, a lady above reproach, who happens to a car accident: an old man with a dog loses control of his dog and walks out into the street without seeing her coming, she hits him, she wants to report it immediately to the police taking responsibility at once, but as she already is starting to talk in a phone booth, her car is stolen. Instead she reports her car stolen. That's how it begins.

It appears she wasn't quite satisfied with the film herself, because after this film she almost never appeared on screen again - just a few TV shows, some minor parts now and then, while she still had a long life ahead and never lost her beauty.

It certainly isn't one of the best noirs, rather pale for a noir, and the script is too muddled up with improbabilities. How could she at all have anything to do with those rude gangsters, that later gets her involved, the last thing she wants? She blames her weakness, and that is very womanish, of course, so there is much in this film to discuss - Lex Barker isn't very attractive either, so their love business isn't very convincing. Anyone could love her, but he is rather wooden, while the other guy, Warren Stevens, is simply impossible in his rudeness.

It's worth seeing for her sake, you will remember her, but you will forget the picture.