As bleak a noir as I've yet seen. The characters are sleazy and rotten as hell. A great example of where fake facades spiral out of control and destroys all who are involved. A lot more psychologically interesting than the average noir.
Pitch perfect noir. On of the best examples of the genre I can think of. It's no surprise it comes from a master of German expressionism: Fritz Lang.
a sarcastic story of unrequited love interwined with triangled tension and deceiful absurdity. none of the three leads are mutually in love. chris(robinson)loves kittie but kittie(bennett) loves johnny....but johnny only loves himself. it's like circular food chain with the natur...( read more)
Edward G. Robinson plays the world's biggest sucker as Joan Bennett and Dan Duryea take him for a ride. Fritz Lang's direction is at its height (at least the height of his American movies) of its powers. Bennett is one of the screen's most rotten femme fatales stewing in vulgarit...( read more)
A very different role for Robinson tops off this excellent Lang film. As a meek, henpecked painter whose obsession with Kitty (Bennett's version of the femme fatale) completely dominates his life, Robinson turns in a performance like never before. A very bleak film, and very...( read more)
an unusual story for the time. it's good, but a bit too "naive" even for the '40s (1000$ and a lot of paintings stolen and the schmuck didn't even get a decent kiss from her? to say the least....)
joan bennett is at her best as the duplicitous strumpet kitty march. as is edward g robinson and dan duryea as the men in her sleazy life. margaret lindsay also scores as bennett's friend as does rosalind ivan as robinson's harridan of a wife.
Chris Cross, un caissier de banque en fin de carrière, se porte un soir au secours d'une dame brutalisée en pleine rue. Au fil d'une discussion subséquente, celle-ci le prend à tort pour une peintre richissime et entreprend, pour palier les soucis financiers de son petit ami abus...( read more)
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