Until now I knew Robert Young as an actor who played either morally upright minor authority figures (Crossfire) or depressed middle aged men (The Second Woman) - well, rather crusty guys. So I really was surprised to see him as an absolutely amoral homme fatal" in this story-wise interesting and quite artfully executed movie. I also had the feeling that he really enjoyed playing this character who just might have stepped right out of a script of the Coen Brothers. Might have been a welcome break from routine.
Young's Larry Ballentine is a kept man, a gold-digger, a wolf, you name it. Actually, it is never quite clear what exactly he wants out of life apart from easy living. Probably he doesn't know himself, he is whimsical and seems prone to spontaneous, unplanned and stupid activity. The movie makes its best out of these character traits. The movie starts in New York. Larry is dead set on leaving his wife (Rita Johnson, attractive and lovable) traveling after another woman (Jane Greer, even more attractive). Actually, he already has purchased his train ticket and is packing. His - very rich wife joins him, repacks his suitcase and reveals to him that she knows all about his plans. Nonetheless he wants to tear himself loose. His wife tells him, that she has organized an easy brokerage job for him in Los Angeles. He is still adamant. The next scene we see him sleeping in a railroad compartment in his exquisite pajamas. He wakes up, stretches comfortably, then his wife joins him and they are both in the best of moods. It is a great moment for the viewers.
Of course he soon has a new lover (Susan Hayward, in a very good performance as upwardly mobile, intelligent white trash"). So his wife decides for them to retreat to an old, isolated Spanish country seat in the Sierras. From then on the story settles into classic film noir mode. The best is made of the various locations, especially the country seat. Larry's wife becomes very attached to one particular horse and a beautiful spot on her property with a waterfall. The way the horse is used as a symbol for fidelity and the spot as the meeting point with destiny pretty much explains why I like old movies so much. The animal and that location assume a supernatural, mystical quality which contemporary movies only very, very rarely achieve, however soft the colors and camera movements, however intense the musical score.
Some reviewers do not seem to be happy with the ending in the courtroom where Larry is tried for the murder of his wife. To me it seems that it ties in perfectly with the movie. Larry just can't count the odds. Never could. First he tries to charm the jury, a very good comedic scene. After telling his story of continuous philandering, this pathetic attempt is naturally bound to fail. Seeing that his magic charm I am speaking from Larry's perspective does not work, he is convinced that his fight is lost. It is not clear if he tries to escape or to commit suicide, this uncertainty also fits his character well. The police officer who shoots Larry might act on impulse, just as it was customary with Larry. I am not sure if it is the same officer who earlier shows interest and concern for the mentioned horse, in a crucial scene in which the body of Larry's wife is found incidentally another interesting moment, in which a guy in the background whom the viewers have heretofore ignored suddenly and unexpectedly takes the initiative, moves into the center of the frame and becomes a character of his own.
I would call this by all appearances minor RKO movie high quality entertainment for an adult audience.
Young's Larry Ballentine is a kept man, a gold-digger, a wolf, you name it. Actually, it is never quite clear what exactly he wants out of life apart from easy living. Probably he doesn't know himself, he is whimsical and seems prone to spontaneous, unplanned and stupid activity. The movie makes its best out of these character traits. The movie starts in New York. Larry is dead set on leaving his wife (Rita Johnson, attractive and lovable) traveling after another woman (Jane Greer, even more attractive). Actually, he already has purchased his train ticket and is packing. His - very rich wife joins him, repacks his suitcase and reveals to him that she knows all about his plans. Nonetheless he wants to tear himself loose. His wife tells him, that she has organized an easy brokerage job for him in Los Angeles. He is still adamant. The next scene we see him sleeping in a railroad compartment in his exquisite pajamas. He wakes up, stretches comfortably, then his wife joins him and they are both in the best of moods. It is a great moment for the viewers.
Of course he soon has a new lover (Susan Hayward, in a very good performance as upwardly mobile, intelligent white trash"). So his wife decides for them to retreat to an old, isolated Spanish country seat in the Sierras. From then on the story settles into classic film noir mode. The best is made of the various locations, especially the country seat. Larry's wife becomes very attached to one particular horse and a beautiful spot on her property with a waterfall. The way the horse is used as a symbol for fidelity and the spot as the meeting point with destiny pretty much explains why I like old movies so much. The animal and that location assume a supernatural, mystical quality which contemporary movies only very, very rarely achieve, however soft the colors and camera movements, however intense the musical score.
Some reviewers do not seem to be happy with the ending in the courtroom where Larry is tried for the murder of his wife. To me it seems that it ties in perfectly with the movie. Larry just can't count the odds. Never could. First he tries to charm the jury, a very good comedic scene. After telling his story of continuous philandering, this pathetic attempt is naturally bound to fail. Seeing that his magic charm I am speaking from Larry's perspective does not work, he is convinced that his fight is lost. It is not clear if he tries to escape or to commit suicide, this uncertainty also fits his character well. The police officer who shoots Larry might act on impulse, just as it was customary with Larry. I am not sure if it is the same officer who earlier shows interest and concern for the mentioned horse, in a crucial scene in which the body of Larry's wife is found incidentally another interesting moment, in which a guy in the background whom the viewers have heretofore ignored suddenly and unexpectedly takes the initiative, moves into the center of the frame and becomes a character of his own.
I would call this by all appearances minor RKO movie high quality entertainment for an adult audience.